![]() ![]() ![]() Lee Miller, Nude bent forward (thought to be Noma Rathner), Paris, ca. ![]() “I think she’s a Surrealist from the beginning to the end,” says Patricia Allmer, author of Lee Miller: Photography, Surrealism, and Beyond(2016). But while these influences were important to her, Miller had her own decided view of the world. Her mentor turned lover, Man Ray, introduced her to Surrealist art and artistic circles in late 1920s Paris she starred in Jean Cocteau’s The Blood of a Poet (1930) her second husband, Roland Penrose, was an established practitioner of Surrealism in Britain and later a cofounder of the Institute of Contemporary Arts in London. Miller was surrounded by Surrealist men in both her personal and professional lives. Although she was never an official member of the group (according to Burke, she couldn’t abide André Breton), her feeling for incongruity and unexpected juxtapositions, for dreamlike imagery and tears in consciousness, her ability to perceive instabilities in apparently ordinary scenes, and her ethical commitments to getting the picture against all odds make her one of the movement’s great photographers. “One could say that Lee’s feel for the incongruities of daily life made her a Surrealist,” writes Lee Miller’s biographer, Carolyn Burke. ![]()
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