The surrealist movement was known for the outrageous avant-garde artists and larger-than-life works. Behind these works, there is inspiration from dreams, news, and lovers. The term lovers tends to transform into the idea of the Muse. “Muse” has numerous sexist connotations surrounding the word. The surrealist “Muse” is more than a sexual lover, model, and inspiration for artists. Instead, they are artists, business managers, and partners in both the artist's career and their own. Lee Miller is a prime example with a resume as a Vogue model, WW2 photojournalist, and surrealist photographer.
She was introduced to Man Ray in the summer of 1929, who took her under his wing and gave her photographic training. She created her style through multiple collaborations with Man Ray and spent summers with avant-garde artists after her first divorce. When World War 2 broke out, she would travel to London to see the war up close and personal.
“Remington Silent, London, England” is a perfect example of her photojournalism during World War 2. The picture depicts a mangled typewriter and ribbon falling out of focus. What is left of the typewriter is sitting on concrete in the foreground while there is rubble and ribbon in the background. The black and white photo plays with focus as it highlights the damage. The name of the piece gives the only insight into where this took place. The name is a brand of typewriters that were popular in the 20th century. In addition, London experienced bombings during the evenings in 1940. Between the imagery and the title, both capture a
moment in war while also making a statement about the destruction of London and the silencing of words during the War.
Lee Miller showcases how Surrealist Women were much more than “Muses.” They were artist, models, photojournalists, and so much more. More resources about both Surrealist and Lee Miller can be found below.
Resources:
Davis, Caitlin S. “Lee Miller’s Revenge on Culture: Photojournalism, Surrealism, and Autobiography.” Woman’s Art Journal 27, no. 1 (2006): 3–9.
Comments