In 1975, the Chicago Tribune conducted a survey among World War II veterans as to what they remembered most about the war-time period. The responses received most often were Glen Miller's band and the Varga Girl. As a result, Vargas was commissioned to paint his own tribute to the war; his painting was featured in the bicentennial commemorative edition of the paper, published on December 7, 1975. This painting is Vargas' sensitive and moving portrayal of the many American women who loved and supported their husbands and boyfriends while the men fought overseas.
World War II expresses many emotions. The news of the young widow's devastating loss of her husband is revealed by the Purple Heart medal clutched in her hand, just below her wedding band. In this intensely private moment, she is completely vulnerable. She also tells of the artist's love and deep passion. This painting was completed within a year of his own beloved wife's death, a personal loss which he never stopped mourning. Vargas transformed his own personal grief into this master work -- a poignant piece that truly touches the heart. This was published in an edition of 200 prints plus proofs on opalesque paper, and an edition of 450 prints plus proofs on arches paper.
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This is one of the most recognizable images created by Vargas during World War II. American GI's frequently copied it onto their aircraft as a symbol of good luck. "The Varga Girl" poses with an expression of serenity on her face, suggesting that all will be well.
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As we gaze into the alluring bedroom eyes of this beautiful young woman, we are struck by her sensuality, tenderness, and tranquility. Her soft skin is delicately caressed by a revealing blue negligee.
Sweet Dreams was the second painting Vargas created for Esquire magazine and appeared as the gatefold in the November 1940 issue. This is a superb example of Vargas' masterful watercolor technique and meticulous attention to detail.
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This 1928 image of a Ziegfeld Follies starlet is one of Vargas' more unique pieces:
Spanish Lace features a richly colored and detailed background--compositional elements rarely found in his later works.
From the peineta in her hair and the bangles on her wrists, one gets the impression of a mysterious Spanish gypsy: aloof, yet inviting with her green eyes and delicate gestures. The warm glow of her soft skin is framed by the contrast of her black cat, raven hair, and intricate lace shawl.
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A Ziegfeld girl enjoys a private moment as she smokes a cigarette in her dressing room. Completely unselfconscious, this is an unusual portrayal of the model: while the pose is informal, Vargas has created an image that, ironically, conveys both glamor and simple elegance.
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Vargas has always been associated with the cutting-edge giants who adored the American woman. The Peruvian-born artist began his career in the United States as the official painter for the Ziegfeld Follies from 1919 to 1934. After his Ziegfeld years, Vargas moved to Hollywood where he was employed as an artist by various movie studios until 1940, when he was hired to replace pin-up artist George Petty at Esquire magazine. Apart from gracing the pages of Esquire magazine from 1940 until 1947, his flawless watercolor and airbrushed Varga Girls adorned aircrafts, ships, and even uniform jackets of U.S. servicemen during the World War II era. The late 1950s marked the debut of the “Vargas Girls” in the pages of Playboy Magazine. Beginning in 1960 until 1976, Vargas Girls regularly graced the pages of Playboy as a monthly feature. Both the “Varga” and the “Vargas” girls are included among the most recognizable cultural icons of the 20th century.
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Jasmine, the Sultan's youngest daughter, lies at the edge of a pool in the palace garden, dreamily gazing at her reflection in the still waters. Suddenly, her wistful thoughts are interrupted by a sound. A stranger approaches—a handsome young man in princely attire. She shows no alarm as she lifts her head to meet the stranger's eyes. Her face is like that of an angel's—a girl to fall in love with at first sight.
More than the portrait of a beautiful girl, this painting tells a tale from a far-away land: the story of a young princess in ancient Persia. How the story unwinds is left to the fantasy of the viewer.
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Vargas was able to convey a look of sweet innocence in many of his portraits—even when his girls are in less-than-innocent settings. A perfect example can be found in the face of this lovely young Vargas Girl. The way Vargas was able to recreate the smooth, shimmering qualities of satin in a watercolor medium, further exemplify his talents as a painter. But who really notices such subtle details while viewing Vargas' beautiful girls?
This was published in an edition of 300 prints plus proofs on opalesque paper, and an edition of 200 prints plus proofs on arches paper. The print has the Vargas Estate trademarked Vargas signature silkscreened on the print.
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This lovely and engaging portrait of Marilyn Monroe reflects the early days of her career when she was so full of life and sweet innocence. Vargas skillfully captured her radiant beauty in a way no other artist ever could.
This was published in two numbered editions of 500 prints each plus proofs. The prints were hand-signed in pencil by proxy.
The original watercolor by Alberto Vargas from which this limited edition lithograph was derived is currently on display in our San Francisco gallery. It was painted in 1953 and is signed by Vargas in the lower left. The original painting is for sale. Further specifications and pricing is available on request.
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First appearing in Esquire magazine in September 1941,
Lady in Red reminds us of the carefree times that existed in this country before America entered World War II. The unique style of her striking red dress—a complete improvisation by Vargas—would have been the envy of any of her contemporaries. Although references might be made to Betty Grable, the painting that was the basis for this print was completed prior to her famous long-legged pin-up poster.
This print has the trademark protected Vargas signature silkscreened on the front.
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Jeanne first appeared as an Esquire magazine gatefold in June 1942. This was America's first year at war—a time when many young lovers were separated by endless months and thousands of miles. Here, "Jeanne" is holding an orchid, symbolic of young love, in her one hand and a note in the other. Perhaps it is a promise of devotion from her beau overseas.
Jeanne represents that pure, unfettered moment of wonder when, in love, anything is possible.
Jeanne Dean was a young model when she started posing for Vargas, and over the years she graced many of his paintings. This portrait, one of Vargas' first paintings of her, was a personal favorite of Jeanne's.
In 1991, Jeanne came to our gallery and personally hand-signed each of these extremely collectible limited-edition prints.
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Alberto Vargas has always been associated with the cutting edge giants who adored the American woman. The Peruvian-born artist began his career in the United States as the official painter for the Ziegfeld Follies from 1919 to 1934. After his Ziegfeld years, Vargas moved to Hollywood where he was employed as an artist by various movie studios until 1940, when he was hired to replace pinup artist George Petty at Esquire magazine. Apart from gracing the pages of Esquire magazine from 1940 until 1947, his flawless watercolor and airbrushed Varga Girls adorned aircrafts, ships, and even uniform jackets of the US servicemen during the World War II era. The late 1950s marked the debut of the “Vargas Girls” in the pages of Playboy magazine. Beginning in 1960 until 1976, Vargas' "Vargas Girls" regularly graced the pages of Playboy as a monthly feature. Both the “Varga” and the “Vargas” girls are included among the most recognizable cultural icons of the 20th century.
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Alberto Vargas loved women in the highest sense. His appreciation went beyond physical appearance; it included all aspects of womanhood. Every quality of a woman was to be revered and enjoyed: the sound of her voice, the texture of her hair, her personality, and her presence. Vargas, with great sensitivity, was able to recognize the depth of these qualities and he spent his whole life trying to fathom those recesses through his art.
Flowered Hat, with its classic approach to the female figure, is brilliant in its simplicity.
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Fleurs du mal ("Flowers of Evil") is a volume of French poetry by Charles Baudelaire. First published in 1857, the subject matter of these poems deals with themes relating to decadence and eroticism. In this context, the sultry atmosphere found in Vargas' work is compelling. Vargas created a fine sense of time and place when he created this.
The prints were hand-signed in pencil by proxy.
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This painting is historic in that it was the very first Varga Girl ever published by Esquire magazine. It appeared as a gatefold in the October 1940 issue of the magazine. This blond beauty, whispering words of passion while lying on a bed of satin, introduced our nation to Alberto Vargas' legendary all-American girl, images that would become a part of our culture for many decades.
This was published in an edition of 200 prints plus proofs on opalesque paper, and an edition of 450 prints plus proofs on arches paper. The print has the Hearst Corporation trademarked Varga signature silkscreened on the print.
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Enchanted Evening was first circulated as a gatefold in Esquire magazine. The image later appeared on posters and in promotional campaigns for the sale of U.S. War Bonds during World War II. This strawberry-blonde's violet-colored eyes and flowing negligee inspired our troops during the war while reminding Americans back home of the need for patriotic support. Even today, she invites us into her private setting where her open arms and coy smile play with our sensibilities.
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This was published in an edition of 375 prints plus proofs on opalesque paper. The print has the trademark protected signature silkscreened on the print.
There's nothing better than the sensual beauty of a woman lying under the sun, "day-dreaming" of heavenly thoughts. This model's repose, while running fingers through her platinum-blond hair, makes this a timeless image.
Most of the attire illustrated in Vargas' paintings were pure creations of his rich imagination. The swimsuit we see here exemplifies his progressively-styled fashions—ones that are emulated today.
This print also provides an excellent example of Vargas' technique of focusing the viewer's attention on the figure by eliminating extraneous subject matter. Prompting our imaginations, he has portrayed this woman lying on a surface—a surface that we subliminally conclude exists, even though it is clearly not there.
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This lively redhead is fresh-faced and frolicsome as she readies herself for an evening's adventure.
Black Satin offers a tantalizing medley of sensuous textures and glowing skin tones.
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Bessie Love was an American motion picture actress who achieved fame largely in the silent films and early talkie era. Petite and pretty, she played innocent young girls, flappers, and wholesome leading ladies.
In this beautiful watercolor from 1919—the same year Bessie wrote the movie A Yankee Princess—Vargas shows her holding a puppet, an innocent and curious expression on her face.
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So much can be expressed in the eyes of the women we love. Here, Vargas has captured all the unspoken affection of his favorite model: his wife Anna Mae. With this portrait, Vargas internalized the memory of his beloved; a lovely—and loving—painting of the beauty he married.
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