Ingrid Bergman, Herself 313 by Andy Warhol is one of three color silkscreen portraits in Warhol’s 1983 Ingrid Bergman portfolio. Warhol created the series at the request of the Swedish art gallery, Galerie Börjeson, to commemorate Bergman as one of Sweden’s most prominent actresses. The portfolio was printed by Rupert Jasen Smith in New York and subsequently published by Galerie Börjeson. Andy Warhol completed the work after Bergman’s passing in 1982. Published just four years before his death, this suite is one of Warhol’s last series of movie star portraits. He began to produce such portraits in the early 1960s with works like Marilyn Monroe, Elvis Presley, and Liz Taylor.
The Ingrid Bergman portfolio is a celebration of the Academy-Award-winning star featuring screenprints of Bergman in two of her most famous roles. Warhol’s The Nun is a portrait of a still from the film The Bells of St. Mary’s (1945), in which Bergman starred as Sister Superior Mary Benedict. Ingrid Bergman, With Hat is a portrait of a still from Casablanca (1942), in which Bergman starred as Ilsa Lund.
Ingrid Bergman, Herself 313 is unique to this portfolio in that the source image is from a publicity shoot rather than a film. The portrait depicts Bergman in profile with her hand beneath her chin looking to the left. Warhol outlines the details of her face in bright white lines over vibrant blocks of color.
This portrait is a testament to Warhol’s enduring interest in celebrity, fame, and consumerism. Ingrid Bergman, Herself 313 is a portrait of Bergman off-screen in the role she played each day from the moment she entered the public eye: Ingrid Bergman, celebrity. The public’s inability to separate Ingrid from the characters she portrayed on the screen remained a source of tension throughout Bergman’s career. Having played a nun in The Bells of St. Mary’s and a saint in Joan of Arc (1948), there was a widespread public belief that Bergman herself embodied these characters’ virginal purity. In an interview, Bergman stated, “People saw me in Joan of Arc, and declared me a saint. I’m not. I’m just a woman, another human being.”
Through Ingrid Bergman, Herself 313, Warhol attempts to capture a more human Ingrid—an attempt that becomes even more apparent when the portrait is viewed beside The Nun. However, Herself is also an illustration of the way that fame altered Bergman’s personal life and the difficulties Bergman faced in being recognized as an individual rather than a character in a film. It is not a true portrait of Bergman as she existed to friends or family, but of Bergman as a cultural figure sold to the public. Warhol expresses a clear consciousness of fame’s ability to commodify the individual with this portrait.