Al Hirschfeld (1903-2003) was an American artist and author. A self-described “characterist,” his best-known works are composed of energized lines and sweeping strokes of black ink. These drawings bring his subjects to life on the page (or, today, the screen). His drawings of the American Theater are so well known that a Broadway theater is named for him, but almost as many people know him for his drawings of performers and creators from the worlds of dance, music, film and television.

His artwork appeared in almost every major publication of the 20th century (including a 75 year relationship with The New York Times). He also illustrated books, album covers and 15 postage stamps.

Hirschfeld said his drawing style was to take the character, created by the playwright and portrayed by the actor, and reinvent it for the reader. He captured his subjects so masterfully that people he drew considered it a special honor to be “Hirschfelded.”

Just before his death in January 2003, he learned he was to be awarded the Medal of Arts from the National Endowment of the Arts and inducted into the Academy of Arts and Letters. The winner of two Tony Awards, he was given the ultimate Broadway accolade on what would have been his 100th birthday: In June, 2003, the Martin Beck Theater was renamed the Al Hirschfeld Theater.

What kind of artist was Al Hirschfeld? He is often called a “caricaturist,” but Hirschfeld didn’t like that term. A caricaturist is someone who “makes parodies in an exaggerated manner” in their work, by selecting prominent aspects of their subjects and distorting them for comic effect. Most caricaturists poke fun at their subjects.

Hirschfeld chose to celebrate his.

In Hirschfeld’s own words: “Caricature implies a critique or a criticism. So I don’t refer to my drawings as caricatures. I prefer to think of them as ‘character drawings’ and would feel more comfortable being classified as ‘character-ist’ if there is such a word or school.”

As a “characterist” he captured the character—the inner life and abilities—of his subjects. He had, as one theater historian said, “a special awareness of their interior, and perhaps a secret clue to some area of their personality.”

Hirschfeld was interested in creating drawings that “stood on their own two feet,” meaning that whether you recognized the person(s) was not as important to him as creating a drawing that was engaging to look at.

We hope that you and your students find Hirschfeld, and his works, to be as inspiring as he found his subjects to be.