As Norma Jeane transitioned into her twenties, she began to pursue modeling opportunities, utilizing her natural beauty and charm to capture the attention of photographers and fashion designers. It was during this time that she caught the eye of David Conover, a photographer for the U.S. Army's First Motion Picture Unit, who was struck by her photogenic qualities. Conover's photographs of Norma Jeane caught the attention of military publications, leading to her first taste of public recognition in an age when women wanted to feel more sexually free. Following her divorce from Dougherty in 1946, Norma Jeane fully committed herself to her dream of becoming an actress. She dyed her hair blonde and adopted the stage name Marilyn Monroe, choosing "Marilyn" after the actress Marilyn Miller and "Monroe" from her mother's family name. Determined to break into the film industry, Marilyn tirelessly pursued acting classes and auditioned for various roles, facing numerous rejections along the way. Despite the initial setbacks, Marilyn's perseverance paid off when she signed her first contract with Twentieth Century-Fox in 1946. She began appearing in small film roles, gradually gaining attention for her undeniable screen presence and charisma. It was her breakout performance in "Niagara" (1953) that catapulted her to stardom, showcasing her sultry allure and captivating the hearts of audiences worldwide.

Following her role in "Niagara" (1953), Monroe's career soared to new heights, establishing her as one of Hollywood's most sought-after actresses. Capitalizing on this newfound acclaim, Monroe starred in a series of successful films that solidified her status as a major box office draw. In "Gentlemen Prefer Blondes" (1953) and "How to Marry a Millionaire" (1953), she demonstrated her comedic talents and further cemented her persona as the quintessential "blonde bombshell." These films highlighted her remarkable screen presence and charisma, making her a favorite among audiences and critics alike. However, Monroe was determined to avoid being typecast and sought more challenging roles. She moved to New York in 1955 to study at the prestigious Actors Studio under Lee Strasberg, where she honed her craft and developed a deeper understanding of method acting. This period of intense study culminated in one of her most acclaimed performances in "Bus Stop" (1956). Despite her professional success, Monroe's personal life was tumultuous. Her marriages to Joe DiMaggio and Arthur Miller were marked by intense media scrutiny and personal strife. Nonetheless, Monroe continued to deliver memorable performances, with "Some Like It Hot" (1959) standing out as one of her most iconic roles. As the 1950s drew to a close, Monroe's legacy as a Hollywood icon was firmly established, but her quest for personal and professional fulfillment remained a driving force in her life.

After the success of “Some Like It Hot,” Marilyn lived through a series of deep personal problems that stemmed from her lack of happiness in her relationships. In the summer of 1960 the filming of one of her movies had to be stopped for a week to allow her to be treated in a disintoxication hospital. After her divorce with Arthur Miller in 1961, and despite her efforts to regain control over her life and career, she struggled to find stability and fulfillment. Her unfinished final film, "Something's Got to Give" (1962), became emblematic of the turmoil that plagued her last years, due to her health problems and the infighting that they caused with the studio, which wanted Monroe to prioritize the film. On August 5, 1962, Monroe's tragic death at the age of 36, which was deemed a suicide, shocked the world, leaving behind a legacy that nevertheless transcended her tumultuous life.

Monroe’s impact on culture extended into the visual arts, particularly through her association with the Pop Art movement. In the 1960s, artist Andy Warhol immortalized her in his famous series of silkscreen paintings, "Marilyn Diptych" (1962). Warhol’s work, which juxtaposed vibrant, repeated images of Monroe’s face with monochromatic versions, highlighted the interplay between celebrity and mass media. In fact, Warhol had begun experimenting with the silkscreen painting only days before Monroe’s death, a factor that undoubtedly promised even more success for the series as the public grew more interested in knowing who the “real” Marilyn had been. The series is a poignant commentary on Monroe's life: by means of repetition and alteration, it reflects the consumerist values of America, which had turned Monroe into an impersonal icon, a product that can be manufactured and consumed. Warhol based his depiction of the actress on a promotional photograph of Monroe’s film “Niagara” (which can be seen on this article's cover), the film that brought her from success to stardom, thus capturing the actress in the most recognizable way, in the year she became one of the most sought-after actresses in Hollywood. Before the end of that year, Warhol managed to paint and publicize at least 23 Marilyn silkscreen paintings, that have echoed the star’s legacy well into the present days, helping to understand her legacy and significance by the meaningful association with the Pop Art movement, which looked to popular culture and mass media to revalue imagery from advertising, comic books, and mundane cultural objects.