Paris ? Smiling, cherry-lipped princesses, rock royalty, politicians, artists in eye-popping hues and, of course, Marilyn Monroe, her melancholy face reproduced over and over.

A vast new exhibition opening this week at Paris’ Grand Palais brings together Andy Warhol’s iconic celebrity portraits and works of those who had $40,000 to spare for a set of commissioned canvases.

Warhol churned out an estimated 1,000 portraits — most of them commissions.

“He used to say, ‘I have to pay the rent; I have to bring home the bacon,”‘ says the exhibit’s curator, Alain Cueff, adding that he thinks the irreverent and often-flippant pop artist had something more serious in mind.

“Warhol mentioned that all the portraits should have the same size and that altogether they could form a portrait of society,” he said one recent day while the works were being hung.

Hence the name of the show, “Le Grand Monde d’Andy Warhol,” which translates as “Andy Warhol’s Big World.” It runs through July 13.

The show arranges the portraits of some 130 subjects by profession, so Mick Jagger, his famous lips a delicate baby pink, shares a room with Blondie’s Debbie Harry, with alarming cobalt eyes and her platinum mane painted bright pink.

A facetious portrait of a green-faced Richard Nixon — titled “Vote McGovern” — is interspersed among the Maos, a 1972 series of paintings of the Chinese leader that includes a monumental-size canvas in blue and military drab.

Warhol’s iconic, 1962 portraits of Marilyn Monroe smile out from another wall. “Peach Marilyn” features the actress’ oversized face, with school bus yellow hair and Ceylon eye shadow, on a tangerine background. “Twenty Marilyns” shows the same image with similar coloring repeated over and over, like on book of stamps.

It was the Monroe paintings that launched Warhol into the lucrative business of commissioned portraits: Upon seeing the Marilyns, New York cab company owner and art collector Robert Scull thought of having his wife done, Cueff said.

The result, “Ethel Scull 36 Times,” features three dozen photo booth pictures of Ethel Scull — laughing, pursing her lips, donning sunglasses — in a rainbow of colors.

By the early 1970s, Warhol’s atelier, known as the Factory, had developed a systematic technique for producing the portraits. Warhol first photographed his subjects using a Polaroid Big Shot camera. The chosen image was then transferred to a large-scale sheet of acetate, which Warhol used as a guide in painting the canvas. Finally, he silkscreened over the color-blocked canvas.

Warhol charged $25,000 for the first painting and an additional $15,000 for every additional canvas.

People tend to think of Warhol, a fixture of New York’s party scene, as “someone frivolous, superficial,” said Cueff. “But when you look at these portraits, it’s impossible not to see his humanity, his generosity in the way he treats his subjects.”