Portland Museum of Art exhibits photographic portraits of actors and artists.

The Portland Museum of Art’s growing collection of celebrity portraits reveals the ways appearance helps define public perception of an artist’s work.

The current exhibit of 35 pieces, “Making Faces: Photographic Portraits of Actors and Artists,” was prompted by two newly acquired portfolios by Berenice Abbott and Robert Doisneau, filled with portraits of famous people of the mid-20th century. It’s on display through April 8 at the museum in downtown Portland, Maine.

Doisneau’s work is particularly effective at melding image and talent. His photographs often capture both artist and art, as though one, and because these images are art in themselves, artist and art become inseparable. The fact that most of the photographs in the collection are black and white also helps blur the distinction to the modern eye.

In a photo by Doisneau, Jean Arp is seen in profile behind a couple of his sculptures so that the artist’s own shape gives context to compare the lifelike grace of the curves he has carved. Likewise, the photographer shoots Alberto Giacometti from above so that the artist takes on a similar shape as the tall, thin sculptures surrounding him in his studio.

In Doisneau’s “Poster Artist Savignac,” the artist appears to be interacting with or even part of his painting of a man playing chess. Saul Steinberg is captured from afar as if part of the mural on the wall, while Fernand Leger is shown among his works with similar clothes and expression to his subjects.

While Doisneau worked for Vogue magazine, his photographs became increasingly playful and surreal. Le Courbusier, a pioneer of modern architecture and furniture design, looks down on the organized chaos of his studio in big, fuzzy slippers. Pablo Piscasso poses with two loaves of bread that look like hands with four digits, willingly poking fun at his figures.

Abbott sets a sophisticated Edward Hopper near a woodstove in his studio with all the sincerity of his paintings, except his hat is hanging precariously on the handle of a printing press.

Dan Budnik’s photo of David Smith of Terminal Iron Works stands out because of the unique conditions the artist is working in. Sparkly snow and shiny polished metal exudes a cold comparison to the welding gear. 

Some of the photographs focus on the artists alone, portraying personality through hand gestures, style, expression or lack thereof.

Joyce Tenneson’s portrait of esteemed painter Andrew Wyeth is soulful and soft, with emphasis on his hands, the essential tools of his talent. Greg Gorman’s portrait of celebrity pop artist Andy Warhol is sharp and defiant, from his messy white hair to his black sunglasses and leather jacket.        

Phillip Halsman’s take is more silly and lively, most befitting of the “Making Faces” title, including one of Lucille Ball. Barbara Morgan’s photography is all about movement and is concentrated on the modern dance company of Martha Graham.

A few examples of artists’ work are also shown in exhibition on the second story, and on the third floor, each portrait is paired with a work by the artist portrayed. This space is devoted to Maine photographer David Etnier’s portrait project that focuses on the work of his father, Stephen Etnier, and their friends who have dominated the area’s art scene for the past 30 years. They include Dozier Bell, Alan Bray, Brett Bigbee, Jack Heliker, Karl Schrag, and Linden Frederick. They are sometimes seen at work, such as a barefoot Eric Hopkins in the middle of a large canvas in progress, and sometimes posing among piles of paint and cans of brushes.

The Portland Museum of Art is at 7 Congress Square, Portland, Maine, 207-775-6148.