{"id":428,"date":"2021-03-24T07:44:36","date_gmt":"2021-03-23T23:44:36","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=428"},"modified":"2021-03-22T11:51:02","modified_gmt":"2021-03-22T03:51:02","slug":"photographer-lee-millers-subversive-career-took-her-from-vogue-to-war-torn-germany","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/photographer-lee-millers-subversive-career-took-her-from-vogue-to-war-torn-germany\/","title":{"rendered":"PHOTOGRAPHER LEE MILLER\u2019S SUBVERSIVE CAREER TOOK HER FROM VOGUE TO WAR-TORN GERMANY"},"content":{"rendered":"

When war photographer, fashion model and Surrealist muse\u00a0Lee Miller<\/a>\u00a0died at the age of 70 in 1977, her name was known to a select few experts in the art world. Her career was not without its milestones: working with American photojournalist David E. Scherman, she took some of the most famous images of World War II\u2013era atrocities, and she posed for\u00a0Man Ray<\/a>\u00a0and\u00a0Vogue<\/a><\/em>. Still, her reputation lagged behind her art-historical significance.<\/p>\n

That all changed when Miller\u2019s son, Anthony Penrose, uncovered a vast archive of his late mother\u2019s work in an attic. In 2013, a foundation in Miller\u2019s name was formed in England, and more than 80,000 negatives were given a proper site where experts and institutions could access them. Since then, interest in Miller\u2019s art has grown vastly, and this July, the Salvador Dal\u00ed Museum in St. Petersburg, Florida will stage a show focused on her contributions to the Surrealist art movement.<\/p>\n

Miller once spoke of a \u201crestlessness\u201d that defined her career, and that may account for the variety of roles she occupied. She was a model, a muse, a fashion photographer, and a war correspondent, and she seemed to gracefully move from one version of herself to the next. Her freewheeling sensibility is evident in a famed 1945 image Scherman took of her in a bath. That tub was not just any tub, however\u2014it belonged to Adolf Hitler, and Miller had shed her clothes not long after photographing the liberation of the Dachau concentration camp. The image can be read in more ways than one\u2014a moment of victory over a dictator, a subversion of the classical nude, or a reclamation of power by a long-objectified muse. It is this image,which perhaps most embodies Surrealist painter Eileen Agar description of Miller as \u201ca remarkable woman, completely unsentimental, and sometimes ruthless.\u201d<\/p>\n

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\"Lee<\/div>\n<\/div>
Lee Miller,\u00a0Normandy, France<\/em>, 1944.<\/span>COURTESY LEE MILLER ARCHIVES<\/cite><\/figcaption><\/figure>\n<\/div>\n

A Young Muse<\/strong><\/p>\n

By many accounts, Miller\u2019s childhood was a complicated one. She was born in 1937 in Poughkeepsie, New York to Theodore and Florence Miller. At age seven, she was raped by a family acquaintance during a trip to Brooklyn and contracted a sexually transmitted disease. Some scholars, including curator Mark Haworth-Booth, have suggested that her assault may have made her more susceptible to the traumas she would endure later in life as a result of her war reporting.<\/p>\n

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From an early age, photography had always been present in her life. Her modeling career began first with her father, an amateur stereoscopic photographer, for whom she posed nude throughout her adolescence. These images have been controversial, and many have viewed them as sexualizing Miller, who was still a minor when some of these pictures were taken. \u201cHe took pictures of her that to our eyes are very dubious,\u201d fashion editor Marion Hume says in\u00a0Capturing Lee Miller<\/em>, a 2020 documentary directed by Teresa Griffiths. Penrose, the artist\u2019s son, called the works \u201ca transgression of a relationship.\u201d Others have staked a claim for them as a kind of artistic collaboration. (Miller never created any documentation of her accounts of posing for her father\u2019s photographs, leaving her feelings on the topic largely a mystery for scholars.)<\/p>\n

In 1927, by coincidence, Miller met publisher Cond\u00e9 Nast, who discovered her on the street in Manhattan. The encounter led to Miller\u2019s first major break in the fashion world. That same year, her face would grace the cover of\u00a0Vogue<\/em>\u00a0in an Art Deco\u2013style illustration by George Lepape. By 1928, Edward Steichen photographed her for the magazine as well; according to Miller\u2019s biographer, Carolyn Burke, he was the one to suggest she go study with Man Ray if she were serious about becoming a photographer herself. When asked in an American radio interview in 1946 about how she became a photographer, Miller responded rather simply: \u201cI thought the best way was to start out studying with one of the great masters in the field, Man Ray.\u201d<\/p>\n

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\"Lee<\/div>\n<\/div>
Lee Miller,\u00a0Corsetry, Solarised Photograph, Vogue Studio, London, England<\/em>, 1942.<\/span>\u00a9 LEE MILLER ARCHIVES, ENGLAND 2020<\/cite><\/figcaption><\/figure>\n<\/div>\n

Surrealist Muse and Collaborator<\/strong><\/p>\n

By 1929, at the age of 24, Miller had moved to Paris and begun working as Man Ray\u2019s studio assistant. Eventually, their professional relationship also led to a romantic one. Under the Surrealist\u2019s apprenticeship, she was instrumental in inventing Man Ray\u2019s \u201csolarization\u201d photographic technique, through which black and white hues are reversed, creating a halo-like effect. By Miller\u2019s account, she happened upon the method during an accident in the dark room\u2014she had accidentally turned on the lights while developing a photograph.<\/p>\n

Beyond the photographs taken of her, Miller is also immortalized in one of Man Ray\u2019s most recognizable works, a metronome adorned with a picture of her eye at the end of the ticker. In Paris, Miller also ran her own portrait studio, taking on commissions for the French edition of\u00a0Vogue<\/em>\u00a0with George\u00a0Hoyningen-Huene and other couture ateliers.<\/p>\n

Miller fell in with a circle of modernists that included Pablo Picasso, Jean Cocteau, and Salvador Dal\u00ed. While the group of artists, known for boasting philosophies around intellectual and sexual liberation, welcomed women as both models and collaborators, many of the male artists made work with misogynistic overtones. Man Ray was not exempt from these attitudes. \u201cHe also wanted to control her,\u201d Burke remarks in the film. After three years, their relationship ended.<\/p>\n

By the mid-1930s, she had married Egyptian businessman Aziz Eloui Bey and moved to Cairo. The period was a formative one for Miller, who began taking pictures of the empty Egyptian desert.\u00a0Portrait of Space\u00a0<\/em>(1937), an image of the arid landscape of the Siwa Oasis shot through a torn fly screen, exemplifies her Surrealist bent. Although she experienced a sense of escapism in Egypt, she was left pining for Paris, and the disjunction she felt would later inform her war imagery\u2019s off-putting aesthetic. \u201c[Miller\u2019s] Surrealist imagination meets a shattered reality head-on,\u201d according to Burke.<\/p>\n

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\"Lee<\/div>\n<\/div>
Lee Miller,\u00a0SS Guard in Canal, Dachau, Germany<\/em>, 1945.<\/span>LEE MILLER\/PUBLIC DOMAIN<\/cite><\/figcaption><\/figure>\n<\/div>\n

\u2018Believe It\u2019:\u00a0Vogue<\/em>\u2019s War Images<\/strong><\/p>\n

By 1939, a new relationship with Surrealist artist and author Roland Penrose, whom she\u2019d met years earlier in Paris, had brought Miller to London. At this point, the city was just beginning to weather the destructive effects of World War II. In the British capital, she met the editor of\u00a0Vogue<\/em>, Audrey Withers, whom Miller told of her desire to become a photojournalist. The two established a connection, and the magazine went on to publish several photo-essays by Miller, including 1943\u2019s \u201cNight Life Now,\u201d which bore a sub-headline reading, \u201cAfter dark drama of the work of the Women\u2019s Services.\u201d It comprised images of the Auxiliary Territorial Service, an all-female British Army artillery unit. Eventually, Miller\u2019s images would help to transform the luxury-oriented fashion magazine, which at the time had found itself ill-equipped to meet the war-torn moment, into an outlet for serious news. As Hume explains it in\u00a0Capturing Lee Miller<\/em>, \u201cLee was seizing opportunity. So war was opportunity.\u201d<\/p>\n

Miller became accredited as a photographer with the American army through Cond\u00e9 Nast Publications in December 1942. Partnering with Scherman, a\u00a0Life<\/em>\u00a0correspondent and an established war photographer, she embarked on her new venture.<\/p>\n

In 1944, she was present for the battle of St. Malo, which saw the first use of napalm bombing. Later, she would also be present at the blitz, the chaos following D-Day, the liberation of Paris, the Battle of Alsace, and the U.S. military\u2019s entry into Nazi concentration camps at Buchenwald and Dachau, becoming one of only a few U.S. army women photographers at the time to see combat.<\/p>\n

In 1945, Miller wrote to Withers, \u201cI usually don\u2019t take pictures of horrors. But don\u2019t think that every town and every area isn\u2019t rich with them.\u201d Sure enough, her images of war\u2019s most gruesome forms of violence are among her most memorable ones from the era. In one photograph, a dead SS guard floats in sunlit water, incisively drawing contrasting the terror of carnage with the picturesque setting surrounding it.<\/p>\n

At the time, whether willfully or not, few worldwide were aware of what took place in Nazi concentration camps. \u201cI IMPLORE YOU TO BELIEVE THIS IS TRUE!\u201d Miller once wrote in a telegram to Withers, saying, \u201cI hope\u00a0Vogue<\/em>\u00a0will feel that it can publish these pictures.\u201d Her photographs of Buchenwald and Dachau bear witness to various atrocities, and the acted as cold, hard evidence for disbelieving American and British audiences, who saw many written accounts of the war as propaganda. To the public, the American edition of\u00a0Vogue<\/em>\u00a0from June 1945 printed Miller\u2019s death camp photos, along with a direct message: \u201cBelieve It.\u201d<\/p>\n

Then as now,\u00a0Vogue<\/em>\u00a0had a reputation for publishing glossy fashion spreads focused on women\u2019s wear, and these images certainly rank among the most graphic ones ever printed in its pages. Miller once described the frustration of being uncomfortably lodged between the realms of fashion photography and photojournalism, writing, \u201cI\u2019m busy making documents, not art.\u201d<\/p>\n

Ironically, however, the most famous photograph from the era involving Miller in its making was not one authored by her. It was taken by Scherman on April 30, 1945, in the hours following the liberation of Dachau. Miller and Scherman found themselves in Hitler\u2019s Munich apartment, which had just been raided by U.S. soldiers and that was where they produced their famed bathtub picture. (Unbeknownst to them at the time, that day would later go down in history as the one that Hitler committed suicide.) It was published in\u00a0Vogue<\/em>\u00a0along with an image of similar image of Scherman in the bath that was long forgotten. For Scherman, the scene shown in the photo\u2014a soiled bathmat flanked by a propaganda portrait of the dictator on the tub\u2019s edge\u2014represented \u201cthe last of the Hitler myth.\u201d<\/p>\n

Despite the photograph\u2019s apparent levity, violence was taking place all around them as allied forces pressed closer into Germany. On April 18, 1945, Miller shot the scene of Nazi official deputy mayor Ernst Kurt Leizpig and his family\u2019s suicide at Munich\u2019s town hall. An image of Leizpig\u2019s daughter, Regina Lisso, who died by cyanide poisoning, laying across from her parents ranks as one of Miller\u2019s most haunting portraits. (When it was published in\u00a0Vogue<\/em>, it was accompanied by text remarking on the teenager\u2019s \u201cextraordinarily pretty teeth\u201d and her nurse\u2019s uniform.) It is in these images, Miller\u2019s Surrealist education and the glamour of\u00a0Vogue<\/em>\u00a0fashion portraits merge. \u201cLee\u2019s Surrealist eye was always present. Unexpectedly, among the reportage, the mud, the bullets, we find photographs where the unreality of war assumes an almost lyrical beauty,\u201d Penrose has written. \u201cOn reflection I realize that the only meaningful training of a war correspondent is to first be a Surrealist\u2014then nothing in life is too unusual.\u201d<\/p>\n

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\"Man<\/div>\n<\/div>
Man Ray,\u00a0Lee Miller, 1929<\/em>.<\/span>CHRISTIE’S<\/cite><\/figcaption><\/figure>\n<\/div>\n

\u00a0<\/strong>\u2018She Wanted to Forget\u2019<\/strong><\/p>\n

Toward the end of her life, Miller moved to the English countryside, in East Sussex, with Roland Penrose. She had her first child at the age of 40, and she suffered bouts of depression and struggled with alcoholism. \u201cI could not believe she had been the same person that created this material,\u201d Arthur Penrose said of his mother, whose images of WWII to Vogue portraits he\u2019d never seen during her lifetime.<\/p>\n

According to family and the archive\u2019s directors, those in her circle wanted to promote her work further, but she refused. \u201cShe wanted to move on. She wanted to forget,\u201d Ami Bouhassane, Miller\u2019s granddaughter and co-director of the photographer\u2019s archive, says in\u00a0Capturing Lee Miller<\/em>.<\/p>\n

Miller\u2019s transformation\u2014from the fashion realm, to Surrealist artist, to war reporter\u2014came full circle in many of her late-career images. On her return from Europe to New York in 1932, she remarked to a journalist for the\u00a0New York World-Telegram<\/em>, in response to queries on her fashion modeling career, \u201cI\u2019d rather take a picture than be one.\u201d<\/p>\n

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Source:https:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

When war photographer, fashion model and Surrealist muse\u00a0Lee Miller\u00a0died at the age of 70 in 1977, her name was known to a select few experts in the art world. Her career was not without its milestones: working with American photojournalist David E. Scherman, she took some of the most famous images of World War II\u2013era […]<\/p>\n","protected":false},"author":2,"featured_media":429,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[114],"class_list":{"0":"post-428","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news","12":"tag-lee-miller"},"yoast_head":"\nPHOTOGRAPHER LEE MILLER\u2019S SUBVERSIVE CAREER TOOK HER FROM VOGUE TO WAR-TORN GERMANY - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"When war photographer, fashion model and Surrealist muse Lee Miller died at the age of 70 in 1977, her name was known to a select few experts in the art world.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/photographer-lee-millers-subversive-career-took-her-from-vogue-to-war-torn-germany\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"PHOTOGRAPHER LEE MILLER\u2019S SUBVERSIVE CAREER TOOK HER FROM VOGUE TO WAR-TORN GERMANY - 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