Brown Eyed Handsome Man. Chuck Berry. Chess. 1956.
The two most beautifully photographed faces of the twentieth century belonged to Billie Holiday and Jimi Hendrix. Both faces project an image of composed, preternatural calm, transcending artistic confidence, and articulating some nascent form of the language of glamour and modern celebrity. Aristocratic and modishly flawed, theirs is an unblemished beauty from the last century before the normalization of technologically modified human form. Another striking example of physical beauty enhanced by natural aging processes is the photographed face of Chuck Berry. Pronounced cheekbones, dark eyes animated by a restless intelligence, and a miscreant’s grin that, with skeleton key ease, deciphers the peculiar levity of his genius; these are the slyly bedeviled features that disclose the working apparatus of mid-century’s most playful imagination. Berry shares with Paul Newman an all-American countenance that reads like a map of masculine intrigue; in Newman’...