Lee Miller at the Tate: a ‘sexy yet devastating’ show

The ‘revelatory’ exhibition tells the photographer’s story ‘through her own impeccable eye’

Lee Miller at a social function
The collection contains 230 exhibits from throughout her career
(Image credit: Haywood Magee / Picture Post / Hulton Archive / Getty Images)

It’s difficult to imagine “a more compelling biography” than that of Lee Miller, said Alastair Sooke in The Daily Telegraph. Born in upstate New York in 1907, she found fame as “an androgynous fashion model” in 1920s Manhattan, but soon decided (as she put it) that she would “rather take a picture than be one”. Her next act saw her decamp to Paris, where she became involved with the city’s flourishing modern art scene, falling in love and then collaborating with the surrealist photographer Man Ray.

But Miller was an artist in her own right: an unsettling, surrealist-tinged photographer, and a celebrated wartime photojournalist who captured everything from the London Blitz to the liberation of Dachau. One much-reproduced portrait, taken by her colleague David E. Scherman the day Hitler’s death was announced, pictured her in the bathtub of the dictator’s Munich apartment. This show is the biggest retrospective ever devoted to Miller’s singular talent in this country, bringing together around 230 exhibits that trace her career from start to finish. Featuring some deathless images, it’s a “sexy yet devastating” show that does justice to her art while keeping her “scintillating life story front and centre”.

There’s plenty of celebrity glamour here, said Mark Hudson in The Independent. Miller apparently “knew everyone” in Paris, her famous friends included Picasso, Charlie Chaplin and Jean Cocteau – all of whom we see here in photographic portraits. But in the aftermath of the Second World War, she married the British surrealist Roland Penrose and moved to London. If anything, that conflict only amped up the oddness of her pictures: she staged fashion shoots in the rubble of Blitzed-out London and, from 1944, chronicled the US army’s march through Europe as an official photographer. Some of the scenes she recorded are genuinely shocking: an “angelic female figure” pictured in 1945 is in fact the corpse of a German girl who had been given cyanide as Allied forces approached; American soldiers are seen peering at an emaciated corpse at Dachau, their faces registering not horror but “bombed-out resignation”.

Throughout, her “unflappably cool eye” never deserts her. The strain began to show after the War, however: she all but abandoned art, succumbing to “alcoholism and depression” and dying in 1977. I’m not sure this exhibition entirely succeeds in isolating Miller’s work from her status as an “iconic beauty and muse”, but it is “revelatory” nonetheless.

Tate Britain, London SW1. Until 15 February