Throughout the years of World War 2, 1939-1945, there was a significant rise of women in the workforce. As many men joined the military, it was important for women to break stereotypes and begin working in factories, shipyards, and more (White). This was an essential moment in history for women since they proved to society that they were more than capable of working a “man’s job.” Alberto Vargas’ piece of “Jeanne” demonstrates women’s newfound confidence and control. The swoop of the subject’s hair away from her face, exposing more of her body and facial features, creates a sense of confidence and self-assurance by the model. The woman’s distant glance and slight upward curve of her lips shares a content, yet still gentle feeling. Her red nail polish may also symbolize her confidence in her sexuality and her abilities to do more than what used to be assumed of women. Her posture, although slouched, does not appear weak or timid. She is more so stretched into a pose that seems comfortable for her. These factors combined completes an image for the viewer that strongly depicts this new self-confidence and strength growing within women during the very late 1930s and early to mid 1940s.  

Alberto Vargas was one of the biggest, most influential pin-up artists in history. His drive to create countless pieces and thrive in numerous mediums was an inspiration to many artists at the time and still today. The “Varga Girls” calendars, individual works, and models were a staple for him, and convincingly his most memorable works (McKamey). As seen in Vargas’ “Jeanne (Victory for a Soldier),” his pin-up pieces were much more than a pretty painting. These pin-up pieces were a form of encouragement for many soldiers during the years of World War 2 (1939-1945). They held as a reminder to these military men that they must survive in order to return home to their partners. His work escalated during the years working for Esquire Magazine in New York City (from 1940 until early 1950s). During this decade of incredible work, Vargas had many opportunities to truly flourish as an individual artist (Kym). His close attention to detail and ability to portray these models in a beautiful light was quite distinguishable in “Jeanne (Victory for a Soldier).” The subtle yet shimmering highlights that begin at the top of the subject’s hairline flow down the model’s body and end beautifully within the folds of the silky fabric. Vargas did a brilliant job allowing the viewers' eyes to naturally carry themselves down the painting. Not only is “Jeanne” an attractive subject for this piece, but she also represents the strength and newly discovered confidence within women during World War 2. As women began working in predominantly male jobs, they began to gain a true sense of capability and power (White). The model portrayed in Vargas’ piece demonstrates this self-assurance through her comfortable pose, slight grin, and red nail polish. Alberto Vargas’ “Jeanne (Victory for a Soldier)” is an impactful, alluring piece that perfectly portrays Vargas’ artist capabilities and growth as well as the confidence women held during the time of World War 2. 

Kym, K. “Beauty, Glamour, and the Pin-Up Girls of the 1940s.” The Seamstress of Bloomsbury, 23 Mar, 2023, theseamstressofbloomsbury.co.u… Accessed 23 Mar. 2025.

McKamey, Pam. “Alberto Vargas, The King of Pin-Up Art.” Asgard Press, 11 Sep. 2023. www.asgardpress.com/alberto-va… Accessed 4 April 2025.

White, Makayla. “What New York City looked like in the 1940s: Exploring the Wartime and Postwar Life of NYC.” See Old NYC, seeoldnyc.com/new-york-city-19… Accessed 22 Mar. 2025.

Associated Places

by Sophie Replogle

 Albero Vargas worked at Esquire Magazine in the 1940s and 1950s. The years working within this company became a pivotal time for Vargas as he was able to advance and grow as an artist.  Vargas became known for his series of pin-up art that was published in the Esquire Magazine. This series allowed him to gain popularity and strive to better himself as an artist. His skills in color, lighting, and overall portrayal of his “seductive aesthetics” improved while working for this magazine company (McKamey). As noted in “Jeanne (Victory for a Soldier),” Vargas focused on highlighting Jeanne’s specific features, such as her brow bone, the round of her shoulder, and the side of her chest, to accent or bring light to her attractive qualities. Vargas found balance within the color pallet by creating an overall softer tone but still adding subtle shadows and contrasts within the draping cloth over the bottom half of the model’s body. “Vargas’ mastery of the airbrush, honed through his years working for photographers, gave his portraits of women a delicate softness that would become his hallmark,” (McKamey). Vargas took over for the previous illustrator, George Petty, at Esquire Magazine through creating desirable pin-up paintings each month. In just six years at this magazine company, Vargas was able to design 180 paintings, along with his annual “Varga Girl” calendars. His daily work, along with the extremely popular calendars, resulted in major success and profit for Esquire (McKamey). 

McKamey, Pam. “Alberto Vargas, The King of Pin-Up Art.” Asgard Press, 11 Sep. 2023. www.asgardpress.com/alberto-va… Accessed 4 April 2025.

Associated Places

by Sophie Replogle

The main subject of Vargas’s piece is “Jeanne,” a pin-up model. Pin-up art has been around for decades, yet during the time of World War 2, this particular art form skyrocketed. When Vargas moved back to New York City in 1940, he worked at Esquire Magazine and began his, arguably, most famous pin-up art. This extremely popular art form from Vargas lasted from 1940 until after World War 2, around the early 1950s when Vargas left Esquire Magazine (McKamey). Pin-up illustrations, photography, painting, and more were especially popular within the U.S. military as a symbol of hope for those who went off to fight (Kym). In this piece, “Jeanne” is half naked with a silky white cloth draped over her legs, along with pale, yellow-white flowers in her hand. The artistic choice of brighter whites and neutral tones created a feeling of pure hope, which was something many military men and hard workers in the United States yearned to feel. “Jeanne” as well as the other “Varga Girls,” or pin-up models for Alberto Vargas, was a way to remind many soldiers to continue their fight so that they could eventually come home to their beautiful, significant others. It was common for military men to attach these pin-up works into their helmets or hang them in their bunkers as a way to keep them close and stand as a constant positive outlook (Kym).

Kym, K. “Beauty, Glamour, and the Pin-Up Girls of the 1940s.” The Seamstress of Bloomsbury, 23 Mar, 2023, theseamstressofbloomsbury.co.u… Accessed 23 Mar. 2025. 

McKamey, Pam. “Alberto Vargas, The King of Pin-Up Art.” Asgard Press, 11 Sep. 2023. www.asgardpress.com/alberto-va… Accessed 4 April 2025. 

Associated Places

by Sophie Replogle