LEADER 03841cam a2200409La 4500001 136081 005 20240621182510.0 008 080117s2005 njua rb 000 0 eng d 035 (OCoLC)ocm84666107 035 136081 049 LHMA 040 ICA |beng |erda |cBP1 |dOCLCG |dLHM 090 D810.P4 |bD38 2005 100 1 Davis, Caitlin S. 245 10 Lee Miller : |bphotographer of war / |cby Caitlin S. Davis. 246 30 Photographer of war 264 1 [Place of publication not identified] : |b[publisher not identified], |c2005. 300 xvi, 275 pages : |billustrations 336 text |btxt |2rdacontent 337 unmediated |bn |2rdamedia 338 volume |bnc |2rdacarrier 502 Dissertation (Ph.D)--Rutgers, the State University of New Jersey, 2005. 504 Includes bibliographical references (pages 265-274). 520 This dissertation examines and places in a new context the photographic output of Lee Miller during World War II (1939-1945). Miller's wartime photographs, analyzed in-depth for the first time within this study, formulate an integral statement by an artist who viewed the canvas of war through Surrealist eyes and documented the event with photographs and essays. Miller created an entirely new genre of photograph that combined the documentary aspects of photojournalism with the artistic aspects of Surrealism.The melange formed by Miller's temperament, artistic background and training, personal relationships, as well as the fact that she photographed for elite Vogue magazine, rather than an arm of the "hard news" media, influenced the nature of her documents of the Second World War. These photographs exist simultaneously as photoreportage and Surrealist art; accurate representations of the reality of war, yet also carefully selected vignettes providing ambiguous and evocative statements. Miller's ideas were coded within the images and essays she sent from embattled Europe to be published within the pages of Vogue for upper-class women to read along with fashion advice and advertisements for beauty products. This specific placement appended an additional level of Surrealism to Miller's work, transforming the whole of Vogue magazine into a Surrealist piece for the duration of the war. Miller's documentation of the war began in the besieged city of London, continued over the battlefields of Europe, and ended in the concentration camps in Germany. The originality of her photographs is placed in relief when compared to those of noted photojournalists Robert Capa and Margaret-Bourke-White.Lee Miller can be viewed as existing at the forefront of a zeitgeist, in which the inspiration for art came not from lofty ideals but from the everyday world. Although trained within the milieu of Surrealism, Miller attained the height of her artistic abilities when, spurred by the cataclysm of war, she conflated her Surrealist aesthetic with the genre of documentary photography and succeeded in creating a category all her own. Lee Miller's records of the Second World War reveal a revolutionary method of documenting a horrifying reality. 530 Electronic version(s) |bavailable internally at USHMM. 533 Photocopy. |bAnn Arbor, Mich. : |cUMI, |d2005. |e22 cm. 590 Dissertations and Theses 591 Record updated by Marcive processing 21 June 2024 600 10 Miller, Lee, |d1907-1977. 650 0 War photography. 650 0 Photographers |zUnited States |vBiography. 655 7 Biographies. |2lcgft 856 41 |uhttp://proquest.umi.com/pqdweb?did=1031040681&sid=4&Fmt=6&clientId=54617&RQT=309&VName=PQD |zElectronic version from ProQuest 956 41 |u http://dc.ushmm.org/library/bib136081/3195671.pdf |z Hosted by USHMM. 852 0 |bstacks |hD810.P4 |iD38 2005 852 |bwww 852 0 |bebook