I painted Lee (2017) to honour one of my role models, Elizabeth ‘Lee’ Miller. Although she was beautiful, she was also exceptionally talented.
Firstly, Lee began her career as a Vogue model. In 1929, she went to Paris intent on training with famous photographer, Man Ray. Lee (2017) is inspired by a photo taken by him around 1930.
Not only did she work with Man Ray, she took many of the photos credited to him around this time period. She also discovered the solarisation technique, which he later ‘perfected’. She opened her own photographic studio, first in Paris and then New York.
Towards the end of World War II, she used her Vogue credentials to become the first female war photojournalist. She documented the concentration camps of Dachau and Buchenwald.
Presence
After Hitler’s suicide, she was photographed in his bathtub with her muddy boots on the rug. I wanted my painting, Lee (2017), to show the tremendous spirit that she possessed.
In the 1920’s, she was one of the most sought out fashion models. Yet, Lee was never complacent. She used her good looks to further her own career as a photographer, and later, photojournalist.
I decided to paint her wearing a black hat, with none of her trademark blonde hair showing. For me, this image was Lee Miller stripped back to basics. With limited accoutrements, the focus is on her face. I particularly wanted to showcase her arresting eyes.
I used a limited palette to transform this from a black and white photograph into a work of art.
To bring subtle colour to the piece, I used cream, red, yellow and light blue washes. Like my painting, Vida (2017), this piece is painted on a large canvas panel. Finally, the result is a beautiful work of art with a lot of presence. Lee (2017) pays tribute to an extraordinary woman who was so much more than just a fashion model.