Lee Miller

Miller's father introduced her and her brothers to photography at an early age. She was his model – he took many stereoscopic photographs of his nude teenage daughter – and showed her technical aspects of the art.[7] At 19 she nearly stepped in front of a car on a Manhattan street but was prevented by Condé Nast, the publisher of Vogue.[2] This incident helped launch her modeling career; she appeared in a blue hat and pearls in a drawing by George Lepape on the cover of Vogue on March 15, 1927.[8] Miller's look was what Vogue's then editor-in-chief Edna Woolman Chase was looking for to represent the emerging idea of the "modern girl".[8]

For the next two years, Miller was one of the most sought-after models in New York, photographed by leading fashion photographers, including Edward Steichen, Arnold Genthe, Nickolas Muray, and George Hoyningen-Huene.[9] Kotex used a photograph of Miller by Steichen to advertise their menstrual pads [10] without her consent, effectively ending her career as a fashion model.[11] She was hired by a fashion designer in 1929 to make drawings of fashion details in Renaissance paintings but, in time, grew tired of this and found photography more efficient.[8]

External video
Farley Farm House
Man Ray Portraits: Lee Miller's house on YouTube (4:33)

In 1929, Miller traveled to Paris intending to apprentice with the surrealist artist and photographer Man Ray. Although, at first, he insisted that he did not take students, Miller soon became his model and collaborator (announcing to him, "I'm your new student"), as well as his lover and muse.[12][13][3][14] While in Paris, she began her own photographic studio, often taking over Man Ray's fashion assignments to enable him to concentrate on his painting.[15] They collaborated so closely in this period that some photographs taken by Miller are credited to Man Ray.[16] Together with Man Ray, she rediscovered the photographic technique of solarisation[17][18] through an accident variously described; one of Miller's accounts involved a mouse running over her foot, causing her to switch on the light in mid-development.[19]

The couple made the technique a distinctive visual signature, examples being Man Ray's solarised portrait of Miller taken in Paris circa 1930, and Miller's portraits of fellow surrealist Meret Oppenheim (1930), Miller's friend Dorothy Hill (1933), and the silent film star Lilian Harvey (1933).[20]

Solarisation fits the surrealist principle of the unconscious accident being integral to art and evokes the style's appeal to the irrational or paradoxical in combining opposites of positive and negative. Mark Haworth-Booth describes solarisation as "a perfect surrealist medium in which positive and negative occur simultaneously, as if in a dream".[21]

Among Miller's friends were Duchess Solange d'Ayen–the fashion editor of French Vogue magazine,[22] Pablo Picasso and fellow surrealists Paul Éluard and Jean Cocteau. Cocteau was so mesmerized by Miller's beauty that he transformed her into a plaster cast of a classical statue for his film, The Blood of a Poet (1930).[23][24] During a dispute with Man Ray regarding the attribution of their co-produced work, Man Ray is said to have slashed an image of Miller's neck with a razor.[24]

After leaving Man Ray and Paris in 1932, she returned to New York City.[25] She established a portrait and commercial photography studio (with $10,000 worth of backing from Christian Holmes II and Cliff Smith) with her brother Erik (who had worked for the fashion photographer Toni von Horn) as her darkroom assistant. Miller rented two apartments in a building one block from Radio City Music Hall. One of the apartments became her home, while the other became the Lee Miller Studio.[26] Clients of the Lee Miller Studio included BBDO, Henry Sell, Elizabeth Arden, Helena Rubinstein, Saks Fifth Avenue, I. Magnin and Co., and Jay Thorpe.[26] During 1932 Miller was included in the Modern European Photography exhibition at the Julien Levy Gallery in New York and the Brooklyn Museum's exhibition International Photographers with László Moholy-Nagy, Cecil Beaton, Margaret Bourke-White, Tina Modotti, Charles Sheeler, Man Ray, and Edward Weston.[27] In response to the exhibition, Katherine Grant Sterne wrote a review in Parnassus in March 1932, noting that Miller "has retained more of her American character in the Paris milieu. The very beautiful Bird Cages at Brooklyn; the study of a pink-nailed hand embedded in curly blond hair which is included in both the Brooklyn and the Julien Levy show; and the brilliant print of a white statue against a black drop, illumine the fact rather than distort it."[27]

In 1933, Julien Levy gave Miller the only solo exhibition of her life.[28] Among her portrait clients were the surrealist artist Joseph Cornell, actresses Lilian Harvey and Gertrude Lawrence, and the African-American cast of the Virgil Thomson–Gertrude Stein opera Four Saints in Three Acts (1934).[29]

In 1934, Miller abandoned her studio to marry the Egyptian businessman and engineer Aziz Eloui Bey, who had come to New York City to buy equipment for the Egyptian National Railways. Although she did not work as a professional photographer during this period, the photographs she took while living in Egypt with Eloui, including Portrait of Space, are regarded as some of her most striking surrealist images.[30] In Cairo, Miller took a photograph of the desert near Siwa that Magritte saw and used as inspiration for his 1938 painting Le Baiser.[14] Miller also contributed an object to the Surrealist Objects and Poems exhibition at the London Gallery in 1934.[27]

By 1937, Miller had grown bored with her life in Cairo. She returned to Paris, where she met the British surrealist painter and curator Roland Penrose.

Four of her photographs ("Egypt" (1939), "Roumania" (1938), "Libya" (1939), and "Sinai" (1939)) were displayed at the Zwemmer Gallery's 1940 exhibition, Surrealism To-Day. The Museum of Modern Art (MoMA) included her work in the exhibition Britain at War in New York City in 1941.[27] No other exhibition would include her photographs until 1955, when she was included in the renowned The Family of Man exhibition curated by Edward Steichen, director of the MoMA Department of Photography.[31]

Miller in 1943 with other female war correspondents who covered the U.S. Army in the European Theater during World War II; from left to right: Mary Welsh, Dixie Tighe, Kathleen Harriman, Helen Kirkpatrick, Lee Miller, and Tania Long

At the outbreak of World War II, Miller was living at Downshire Hill in Hampstead in London with Penrose when the bombing of the city began. Ignoring pleas from friends and family to return to the US, Miller embarked on a new career in photojournalism as the official war photographer for Vogue, documenting the Blitz. She was accredited with the U.S. Army as a war correspondent for Condé Nast Publications from December 1942.[32]

Miller's first article for British Vogue was on nurses at an army base in Oxford.[33] Miller took portraits of nurses across Europe, including those on the front lines and prisoners of war.[34]

She teamed up with the American photographer David E. Scherman, a Life correspondent, on many assignments. She traveled to France less than a month after D-Day and recorded the first use of napalm at the siege of St. Malo, as well as the liberation of Paris, the Battle of Alsace, and the horror of the Nazi concentration camps at Buchenwald and Dachau. Scherman's photograph of Miller in the bathtub of Adolf Hitler's apartment in Munich,[35] with its shower hose looped in the center behind her head and the dust of Dachau on her boots deliberately dirtying Hitler's bathroom,[36] is one of the most iconic images from the Miller–Scherman partnership,[24] and occurred on April 30, 1945, coincidentally the same day as Hitler's suicide. Being one of the first to arrive at Hitler's apartments, Miller admits, "I had his address in my pocket for years." After taking the bathtub picture, Miller took a bath in the tub and slept in Hitler's bed.[14][37]

During this period, Miller photographed dying children in a Vienna hospital, peasant life in post-war Hungary, corpses of Nazi officers and their families, and finally, the execution of Prime Minister László Bárdossy. After the war, she continued working for Vogue for another two years, covering fashion and celebrities.[2]

During Miller's work with Vogue in World War II, it became her goal to "document war as historical evidence".[38] The effect of her work was to provide "context for events".[39] Her work was very specific and surrealist, like her previous publications and modelling with Vogue. She spent time composing her photographs, famously framing them from inside the cattle trains.[38] Miller's work with Vogue during wartime was often a combination of journalism and art, often manipulated to evoke emotion.[38]

At the war's end, Miller's work as a wartime photojournalist continued as she sent telegrams back to the British Vogue editor, Audrey Withers, urging her to publish photographs from the camps.[40] She did this following a CBS broadcast from Buchenwald by Edward R. Murrow, and Richard Dimbleby's BBC broadcast from inside Bergen-Belsen.[41][38] This was a consequence of people's disbelief at such atrocities. These broadcasters used photographers to do what they could to show the public what they saw.[38] During World War II, Miller's work was used predominantly to "provide an eye-witness account" of the casualties of war.[38]

After returning to Britain from central Europe, Miller suffered severe episodes of clinical depression and what later became known as post-traumatic stress disorder (PTSD). She began to drink heavily and became uncertain about her future.

In November 1946, she was commissioned by British Vogue to illustrate the article "When James Joyce Lived in Dublin" by Joyce's old friend and confidant Constantine Curran. Following a list given to her by Curran, Miller photographed numerous places and people in Dublin, many with a connection to Joyce. The article and photographs appeared in American Vogue in May 1947 and British Vogue in 1950. The pictures provide a remarkable record of Joyce's hometown and Dublin during that time.[42] In 1946, she travelled with Penrose to the United States, where she visited Man Ray in California. After she discovered she was pregnant by Penrose with her only son, she divorced Bey and, on May 3, 1947, married Penrose. Their son, Antony Penrose, was born in September 1947.

In 1949, the couple bought Farley Farm House in Chiddingly, East Sussex. During the 1950s and 1960s, Farley Farm became a sort of artistic Mecca for visiting artists such as Picasso, Man Ray, Henry Moore, Eileen Agar, Jean Dubuffet, Dorothea Tanning, and Max Ernst. While Miller continued to do the occasional photo shoot for Vogue, she soon discarded the darkroom for the kitchen, becoming a gourmet cook. According to her housekeeper Patsy, she specialized in "historical food" like roast suckling pig as well as treats such as marshmallows in a cola sauce (especially made to annoy English critic Cyril Connolly who told her Americans didn't know how to cook).[14] She also provided photographs for her husband's biographies of Picasso and Antoni Tàpies. However, images from the war, especially the concentration camps, continued to haunt her, and she started on what her son later described as a "downward spiral". Her depression may have been accelerated by her husband's long affair with the trapeze artist Diane Deriaz.[7]

Miller was investigated by the British security service MI5 during the 1940s and 1950s, on suspicion of being a Soviet spy.[43][44]

In October 1969, Miller was asked in an interview with a New York Times reporter what drew her to photography. Her response was that it was "a matter of getting out on a damn limb and sawing it off behind you".[24]