Published on October 5, 2024 at 9:37 p.m. / Modified on October 5, 2024 at 9:38 p.m.
The history of art, and even more so that of photography, has had a very unfortunate tendency during the 20th century to make women invisible, to quickly forget major artists who, even if they were able to produce pioneering works, have gradually been relegated to the margins. “With the exception of a few recurring figures, such as Dorothea Lange, Germaine Krull, Diane Arbus or Berenice Abbott, women have occupied little space in thematic works as in general histories of photography,” notes Marie Robert in a essential work that she co-edited, A World History of Women Photographers (Ed. Textuel, 2021).
Sometimes, the rediscovery of a work is a miracle. In the case of Lee Miller (1907-1977), we owe it to his son Antony Penrose, who after his mother’s death found boxes containing thousands of negatives, original prints and other documents. In 1985 he wrote a book about it, The Lives of Lee Millertranslated for the first time into French nine years later. The Art of Lee Millerthe first retrospective devoted to the American, will be created in 2007 in London by the Victoria and Albert Museum, before being hosted by the Jeu de Paume in Paris. Two years ago, it was at the Rencontres de la Photographie in Arles that a new audience became familiar with his work and his extraordinary journey, while the filming of a biopic with Kate Winslet was announced.
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