Beginning in the early nineteeth century, pin up modelling had "theatrical origins." Burlesque performers and actresses sometimes used photographic advertisement as business cards to advertise shows. These adverts and business cards could often be found backstage in almost every theater's green room, pinned-up or stuck into the frames of looking glasses, in the joints of the gas-burners, and sometimes lying on top of the sacred cast-case itself.
Famous actresses in the early 20th century film were both drawn and photographed and put on posters to be sold for personal entertainment. Among the celebrities who were considered sex symbols, one of the most popular early pin-up girls was Betty Grable, whose poster was ubiquitos in the lockers of G.I.s during World War II.
Other pin-ups were art depicting idealized versions of what some thought a particularly beautiful or attractive woman should look like. An early example of the latter type was the Gibson Girl, a prepresentation of the New Woman drawn by Charles Dana Gibson.
Many people believe that since its beginnings the pin-up has presented women with models for expressing and finding pleasure in their sexual subjectivity. Additionally, pin-up allows for women to change the everyday culture. The models succeed in the feminist aim of changing the rigid, patriarchal terms.