Editing Lee Miller (section)

==Career==
===Modeling===
Miller's father introduced her and her brothers to photography at an early age. She was his model – he took many [[stereoscope|stereoscopic photographs]] of his nude teenage daughter – and showed her technical aspects of the art.<ref name="prose">{{cite book |title=The Lives of the Muses |author=Prose, Francine |publisher=[[Harper Perennial]] |year=2002 |isbn=0-06-019672-6 |url=https://archive.org/details/livesofmuses00pros |author-link=Francine Prose}}</ref> At 19 she nearly stepped in front of a car on a Manhattan street but was prevented by [[Condé Montrose Nast|Condé Nast]], the publisher of [[Vogue (magazine)|''Vogue'']].<ref name="2007-09-08 Guardian" /> This incident helped launch her modeling career; she appeared in a blue hat and pearls in a drawing by George Lepape on the cover of ''Vogue'' on March 15, 1927. Miller's look was what ''Vogue''{{'s}} then editor-in-chief [[Edna Woolman Chase]] was looking for to represent the emerging idea of the "modern girl."<ref name="ErinC">{{cite web|last=Cunningham |first=Erin |title=The Lesser-Known Lee Miller|type=From the Archives |url=https://www.thedailybeast.com/the-lesser-known-lee-miller/ |work=[[The Daily Beast]] |date=October 7, 2013 |access-date=November 18, 2024}}</ref>

For the next two years, Miller was one of the most sought-after models in New York, photographed by leading fashion photographers, including [[Edward Steichen]], [[Arnold Genthe]], [[Nickolas Muray]], and [[George Hoyningen-Huene]].<ref>{{cite web|title=Lee Miller: Portraits|url=http://www.npg.org.uk/about/press/lee-miller-portraits.php?searched=tim+smit&advsearch=allwords&highlight=ajaxSearch_highlight+ajaxSearch_highlight1+ajaxSearch_highlight2|publisher=[[National Portrait Gallery, London]]|access-date=June 16, 2014|archive-url=https://web.archive.org/web/20180802102104/https://www.npg.org.uk/about/press/lee-miller-portraits.php?searched=tim+smit&advsearch=allwords&highlight=ajaxSearch_highlight+ajaxSearch_highlight1+ajaxSearch_highlight2|archive-date=August 2, 2018|url-status=dead}}</ref> [[Kotex]] used a photograph of Miller by Steichen to advertise their menstrual pads<ref>{{cite web|url=http://www.mum.org/lemiller.htm|author=Harry Finley|title=Photographer Lee Miller and Kotex menstrual pads|website=Famous People in Advertising|year=1999|access-date=March 4, 2020|archive-date=December 3, 1998|archive-url=https://web.archive.org/web/19981203020728/http://www.mum.org/lemiller.htm|url-status=live}}</ref> without her knowledge.<ref name="NPR2011">{{cite web|url=https://www.npr.org/2011/08/20/139766533/much-more-than-a-muse-lee-miller-and-man-ray|title=Much More Than A Muse: Lee Miller And Man Ray|author=npr Staff|date=August 20, 2011|website=npr|access-date=March 4, 2020|archive-date=August 21, 2011|archive-url=https://web.archive.org/web/20110821032658/https://www.npr.org/2011/08/20/139766533/much-more-than-a-muse-lee-miller-and-man-ray|url-status=live}}</ref> She was hired by a fashion designer in 1929 to make drawings of fashion details in [[Renaissance art|Renaissance paintings]] but, in time, grew tired of this and found photography more efficient.<ref name="ErinC" />

===Photography===
{{external media |width=210px | headerimage=[[File:Lee Miller (5595220206).jpg|210px]] [[Farley Farm House]] |float=right |video1={{YouTube|KIr9NXrp1ro|Man Ray Portraits: Lee Miller's house}} (4:33)
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In 1929, Miller traveled to Paris intending to apprentice with the [[surrealist]] artist and photographer [[Man Ray]]. Although, at first, he insisted that he did not take students, Miller soon became his model and collaborator (announcing to him, "I'm your new student"), as well as his lover and muse.<ref>{{Cite book |author1=Shinkle, Eugénie |title=Fashion as Photograph: Viewing and Reviewing Images of Fashion |year=2008 |pages=71–72 |publisher=I. B. Tauris |isbn=978-0-85771-255-4}}</ref><ref>{{Cite web|url=https://www.forbes.com/sites/jonathonkeats/2012/07/16/surrealist-love-affair-of-man-ray-and-lee-miller-exposed-in-san-francisco-museum-show-2/ |title=Surrealist Love Affair of Man Ray and Lee Miller Exposed in San Francisco Museum Show | archive-url=https://web.archive.org/web/20230823042839/https://www.forbes.com/sites/jonathonkeats/2012/07/16/surrealist-love-affair-of-man-ray-and-lee-miller-exposed-in-san-francisco-museum-show-2/ |author=Keats, Jonathon |website=Forbes |date=16 July 2012 |archive-date=August 23, 2023}}</ref><ref name="2013-01-27 Independent" /><ref name="JDGiovanni">{{cite web | url = https://www.nytimes.com/2007/10/21/style/tmagazine/21miller.html |title = What's a Girl to Do When a Battle Lands in Her Lap? |last = Giovanni |first = Janine D. |date = 21 October 2007 |website=The New York Times Magazine |pages=68–71 |access-date = 5 October 2024}}</ref><ref>{{Cite web|url=https://www.famousphotographers.net/lee-miller|title=Lee Miller {{!}} Photography and Biography|access-date=March 4, 2020|archive-date=August 23, 2023 |archive-url=https://web.archive.org/web/20230823042811/https://www.famousphotographers.net/lee-miller|url-status=live}}</ref> Some photographs taken by Miller are credited to Man Ray.<ref>{{Cite book |author1=Prodger, Phillip |author2=Hartigan, Lynda Roscoe |author3=Penrose, Antony |type=exhibition catalogue, Peabody Essex Museum, Montclair Art Museum, and Fine Arts Museums of San Francisco |title=Man Ray / Lee Miller: Partners in Surrealism |year=2011 |publisher=Peabody Essex Museum/Merrell |location=Salem, Massachusetts/New York |isbn=978-1-85894-557-6}}</ref>

Along with Man Ray, Miller rediscovered the photographic technique of [[solarisation]]<ref>{{Cite web|url=https://www.tate.org.uk/art/art-terms/s/solarisation|title=Solarisation – Art Term|last=Tate|website=Tate|access-date=July 1, 2019|archive-date=August 23, 2023|archive-url=https://web.archive.org/web/20230823042816/https://www.tate.org.uk/art/art-terms/s/solarisation|url-status=live}}</ref><ref>{{Cite book |author1=Wells, Liz |title=Photography: A Critical Introduction |year=2004 |page=272 |publisher=Routledge |edition=3rd |isbn=978-0-415-30704-8}}</ref> through an accident which has been variously described. One of Miller's accounts involved a mouse running over her foot, causing her to switch on the light in the [[darkroom]] in mid-development of the photograph.<ref>{{Cite web|url=https://www.famsf.org/blog/man-ray-and-lee-miller-excerpts-conversation-julian-cox|title=Man Ray and Lee Miller: Excerpts from a Conversation with Julian Cox|date=July 13, 2012|website=FAMSF|access-date=July 1, 2019|archive-date=July 1, 2019|archive-url=https://web.archive.org/web/20190701030725/https://www.famsf.org/blog/man-ray-and-lee-miller-excerpts-conversation-julian-cox|url-status=live}}</ref> The couple made the technique a distinctive visual signature, examples being Man Ray's solarised portrait of Miller taken in Paris circa 1930, and Miller's portraits of fellow surrealist [[Méret Oppenheim|Meret Oppenheim]] (1930), Miller's friend Dorothy Hill (1933), and the silent film star [[Lilian Harvey]] (1933).<ref>{{Cite book |author1=Williams, Val |author2=Bright, Susan |type=exhibition catalogue, [[Tate Britain]] |chapter=New Freedoms in Photography |title=How We Are: Photographing Britain from the 1840s to the present |year=2007 |publisher=Tate Publishing |isbn=978-1-85437-714-2}}</ref>

Solarisation fits the [[surrealism|surrealist]] principle of the unconscious accident being integral to art and evokes the style's appeal to the irrational or paradoxical in combining opposites of positive and negative. [[Mark Haworth-Booth]] describes solarisation as "a perfect surrealist medium in which positive and negative occur simultaneously, as if in a dream".<ref>{{Citation |author1=Haworth-Booth, Mark |author2=Miller, Lee |type=exhibition catalogue |title=The Art of Lee Miller |year=2007 |page=https://archive.org/details/artofleemiller0000hawo/page/30 30] |publisher=Victoria and Albert Museum |isbn=978-0-300-12375-3 |url=https://archive.org/details/artofleemiller0000hawo/page/30}}</ref>

Among Miller's friends were Duchess [[Solange d'Ayen]]–the fashion editor of [[Vogue France|French ''Vogue'']],<ref>{{cite web |last=Fleming |first=Mike Jr. |title=Kate Winslet Joined by Marion Cotillard, Jude Law, Andrea Riseborough & Josh O'Connor for Film on Model-Turned-WWII Photographer Lee Miller |url=https://deadline.com/2021/10/kate-winslet-lee-miller-wwii-film-marion-cotillard-jude-law-andrea-riseborough-josh-oconnor-1234859103/ |website=[[Deadline Hollywood]] |access-date=August 22, 2023 |date=October 21, 2021 |archive-date=October 21, 2021 |archive-url=https://web.archive.org/web/20211021185235/https://deadline.com/2021/10/kate-winslet-lee-miller-wwii-film-marion-cotillard-jude-law-andrea-riseborough-josh-oconnor-1234859103/ |url-status=live}}</ref> [[Pablo Picasso]] and fellow surrealists [[Paul Éluard]] and [[Jean Cocteau]]. Cocteau was so mesmerized by Miller's beauty that he transformed her into a plaster cast of a classical statue for his film, ''[[The Blood of a Poet]]'' (1930).<ref>{{cite book|url=https://archive.org/details/homeofsurrealis00penr|url-access=registration|quote=Cocteau's The Blood of a Poet|page=[https://archive.org/details/homeofsurrealis00penr/page/31 31]|title=The Home of the Surrealists: Lee Miller, Roland Penrose, and Their Circle at Farley Farm|publisher=Frances Lincoln|isbn=978-0-7112-1726-3|first2=Anthony|last2=Penrose|first1=Alen |last1=MacWeeney|year=2001}}</ref> During a dispute with Man Ray regarding the attribution of their co-produced work, Man Ray is said to have slashed an image of Miller's neck with a razor.<ref name="Bukhari">Bukhari, Nuzhat; Amir Feshareki (2007). "Lee Miller's Ariadne Aesthetics," ''Modernism/Modernity,'' 14.1, pp. 147–152. ProQuest, March 2, 2017.</ref>

After leaving Man Ray and Paris in 1932, Miller returned to New York City.<ref>{{cite web |title=Miss Lee Miller of Poughkeepsie, NY, young artist who went to Paris several years ago to study painting but changed to camera study making quite a reputation for herself, is seen here aboard the S. S. Ile de France as she arrived in New York on Oct. 18. |url=https://www.gettyimages.com/detail/news-photo/miss-lee-miller-of-poughkeepsie-ny-young-artist-who-went-to-news-photo/515582336 |website=[[Getty Images]] |publisher=[[Bettmann Archive]] |access-date=November 12, 2021 |location=New York |date=October 18, 1932 |archive-date=November 12, 2021 |archive-url=https://web.archive.org/web/20211112100259/https://www.gettyimages.com/detail/news-photo/miss-lee-miller-of-poughkeepsie-ny-young-artist-who-went-to-news-photo/515582336 |url-status=live}}</ref> She established a portrait and commercial photography studio (with $10,000 worth of backing from [[Christian R. Holmes II]] and Cliff Smith) with her brother Erik (who had worked for the fashion photographer Toni von Horn) as her darkroom assistant. Miller rented two apartments in a building one block from [[Radio City Music Hall]]. One of the apartments became her home, while the other became the Lee Miller Studio.<ref name="BEConekin">{{Cite book|title=Lee Miller in Fashion|last=Conekin|first=Becky E.|publisher=The Monacelli Press|year=2013}}</ref> Clients of the Lee Miller Studio included [[BBDO]], Henry Sell, [[Elizabeth Arden]], [[Helena Rubinstein]], [[Saks Fifth Avenue]], [[I. Magnin]] and Co., and Jay Thorpe.<ref name="BEConekin" />

During 1932, Miller was included in the ''Modern European Photography'' exhibition at the [[Julien Levy Gallery]] in New York and the [[Brooklyn Museum]]'s exhibition ''International Photographers'' with [[László Moholy-Nagy]], [[Cecil Beaton]], [[Margaret Bourke-White]], [[Tina Modotti]], [[Charles Sheeler]], Man Ray, and [[Edward Weston]].<ref name="P.Allmer">{{Cite book|title=Lee Miller: Photography, Surrealism, and Beyond|last=Allmer|first=Patricia|publisher=Manchester University Press|year=2016}}</ref> In response to the exhibition, Katherine Grant Sterne wrote a review in ''Parnassus'' in March 1932, noting that Miller "has retained more of her American character in the Paris milieu. The very beautiful ''Bird Cages'' at Brooklyn; the study of a pink-nailed hand embedded in curly blond hair which is included in both the Brooklyn and the Julien Levy show; and the brilliant print of a white statue against a black drop, illuminating it rather than distort it."<ref name="P.Allmer" />

In 1933, Julien Levy gave Miller the only solo exhibition of her life.<ref>{{Cite journal|last=Conekin|first=Becky E.|title=Lee Miller: Model, Photographer and War Correspondent in Vogue, 1927–1953|journal=[[Fashion Theory]]|year=2006|volume=10|issue=1–2|pages=97–126 |doi=10.2752/136270406778051058|s2cid=162325789}}</ref> Among her portrait clients were the surrealist artist [[Joseph Cornell]], actresses [[Lilian Harvey]] and [[Gertrude Lawrence]], and the African-American cast of the [[Virgil Thomson]]–[[Gertrude Stein]] opera ''[[Four Saints in Three Acts]]'' (1934).<ref>{{Cite web|url=https://spark.adobe.com/page/5TU0qyWCjrHyb/|title=Lee Miller|website=Adobe Spark|access-date=March 4, 2020|archive-date=March 4, 2020|archive-url=https://web.archive.org/web/20200304014521/https://spark.adobe.com/page/5TU0qyWCjrHyb/|url-status=live}}</ref>

In 1934, Miller abandoned her studio to marry the Egyptian businessman and engineer Aziz Eloui Bey, who had come to New York City to buy equipment for the [[Egyptian National Railways]]. Although she did not work as a professional photographer during this period, the photographs she took while living in Egypt with Eloui, including ''Portrait of Space'', a desert landscape seen through a torn fly screen, are regarded as some of her most striking surrealist images.<ref>{{Cite web|url=https://wotfoto.com/photographers/lee-miller|title=Lee Miller Photographer {{!}} Biography & Information {{!}} wotfoto.com|website=Wotfoto|access-date=March 4, 2020|archive-date=March 4, 2020|archive-url=https://web.archive.org/web/20200304014521/https://wotfoto.com/photographers/lee-miller|url-status=live}}</ref> In [[Cairo]], Miller took a photograph of the desert near Siwa that [[René Magritte|Magritte]] saw and used as inspiration for his 1938 painting ''Le Baiser''.<ref name="JDGiovanni" /> Miller also contributed an object to the ''Surrealist Objects and Poems'' exhibition at the London Gallery in 1934.<ref name="P.Allmer" />

By 1937, Miller had grown bored with her life in Cairo. She returned to Paris and went to a party the day she arrived, where she reconciled with Man Ray, and met the British surrealist painter and curator [[Roland Penrose]].<ref name="NPR2011"/>

Four of her photographs, "Egypt" (1939), "Roumania" (1938), "Libya" (1939), and "Sinai" (1939), were displayed at the [[Anton Zwemmer#Zwemmer Gallery|Zwemmer Gallery]]'s 1940 exhibition, ''Surrealism To-Day''. The [[Museum of Modern Art]] (MoMA) included her work in the exhibition ''Britain at War'' in New York City in 1941.<ref>{{cite web |title=Britain at War. May 23 – Sep 2, 1941 |type=Archive |url=https://www.moma.org/calendar/exhibitions/3002 |website=The Museum of Modern Art }}</ref><ref name="P.Allmer" /> No other exhibition would include her photographs until 1955, when she was included in the renowned ''[[The Family of Man]]'' exhibition curated by [[Edward Steichen]], director of the MoMA Department of Photography.<ref>{{Cite book|last=Livingston|first=Jane|author-link=Jane Livingston|title=Lee Miller: Photographer|publisher=Thames & Hudson|year=1989|isbn=978-0500541395}}</ref>

===World War II===
[[File:War correspondents (cropped).jpg|thumb|Miller in 1943 with other female war correspondents who covered the U.S. Army in the European Theater during World War II; from left to right: [[Mary Welsh Hemingway|Mary Welsh]], [[Dixie Tighe]], [[Kathleen Harriman Mortimer|Kathleen Harriman]], [[Helen Kirkpatrick]], Lee Miller, and [[Tania Long]]]]
At the outbreak of [[World War II]], Miller was living at [[Downshire Hill]] in [[Hampstead]], London with Penrose when [[Nazi Germany|Germany's]] aerial bombardment of the city began. Ignoring pleas from friends and family to return to the U.S., Miller embarked on a new career in [[photojournalism]] as the official [[War photography|war photographer]] for ''Vogue'', documenting what became known as [[the Blitz]]. Because the British Army would not let her accompany them, she managed to be accredited with the [[United States Army|U.S. Army]] instead as a [[war correspondent]] for [[Condé Nast Publications]] from December 1942.<ref>{{cite web |url=https://www.the.me/wp-content/uploads/2013/09/lee_miller_biography_beautiful_young_thing_audacious_muse_photographer_3l.jpg |title=Lee Miller's war correspondence I.D. card |website=Messynessychic.com |access-date=November 12, 2021 |date=December 30, 1942 |archive-date=November 12, 2021 |archive-url=https://web.archive.org/web/20211112112519/https://www.the.me/wp-content/uploads/2013/09/lee_miller_biography_beautiful_young_thing_audacious_muse_photographer_3l.jpg |url-status=live}}<!-- https://www.messynessychic.com/2018/03/30/the-mad-mad-love-of-man-ray-lee-miller/ https://the.me/lee-miller-biography-from-beautiful-young-thing-to-audacious-muse-and-above-all-photographer/ --></ref> Miller's first article for [[British Vogue|British ''Vogue'']] was on nurses at an army base in [[Oxford]].<ref>{{Cite web |date=April 12, 2022 |title=Lee Miller: Nurses |url=https://www.fitzroviachapel.org/lee-miller-nurses/ |access-date=May 10, 2022 |website=The Fitzrovia Chapel |archive-date=May 1, 2022 |archive-url=https://web.archive.org/web/20220501161937/https://www.fitzroviachapel.org/lee-miller-nurses/ |url-status=live}}</ref> She took portraits of nurses across Europe, including those on the front lines and prisoners of war.<ref>{{Cite news |last=Jansen |first=Charlotte |date=April 29, 2022 |title=Lee Miller and the nurses of the Second World War |work=Financial Times |url=https://www.ft.com/content/1a5ecaa1-cf59-4030-ab0f-b42a446087cc |archive-url=https://ghostarchive.org/archive/20221210/https://www.ft.com/content/1a5ecaa1-cf59-4030-ab0f-b42a446087cc |archive-date=December 10, 2022 |url-access=subscription |url-status=live |access-date=May 10, 2022}}</ref>

Following the [[D-Day]] invasion of France in 1944, Miller was tasked with reporting on what she was told was the newly-liberated town of [[Saint-Malo]]. She traveled there only to find that the town was still being heavily fought over. Miller's military accreditation as a female war correspondent did not allow her to enter an active combat zone, but rather than leave she decided to stay, and spent five days on the front lines photographing as much of the [[Battle of Saint-Malo]] as she could.<ref name="JMackrell">{{Cite web |url=https://www.theguardian.com/film/article/2024/sep/11/now-i-owned-a-private-war-lee-miller-and-the-female-journalists-who-broke-battlefield-rules|title='Now I owned a private war': Lee Miller and the female journalists who broke battlefield rules|author=Judith Mackrell |website=The Guardian |date=September 11, 2024 |access-date=September 12, 2024}}</ref> Her photographs included the first recorded use of [[napalm]]. When the military authorities realized where she was, they put Miller under temporary [[house arrest]] and placed strict limits on her movements.<ref name="JMackrell"/>

While she was working with ''Vogue'' during World War II, Miller's goal was to "document war as historical evidence".<ref name="Hilditch">Hilditch, L. "Believe It! Lee Miller's Second World War Photographs as Modern Memorials." ''Journal of War & Culture Studies,'' July 3, 2018, 11(3), pp. 209–222.</ref> Her work provided "context for events"<ref>Zelizer, Barbie. ''Remembering to Forget: Holocaust Memory Through the Camera's Eye.'' Chicago: The University of Chicago Press, 1998, p. ??.</ref> and "an eye-witness account" of the casualties of war.<ref name="Hilditch" /> Miller's work was very specific and surrealist, like her previous publications and modelling with ''Vogue''. She spent time composing her photographs, famously framing some from inside the [[Holocaust trains|cattle trains]] that had transported thousands of Jews to [[Extermination camp|Nazi death camps]]. Miller's work with ''Vogue'' during wartime was often a combination of journalism and art, sometimes manipulated to evoke emotion.<ref name="Hilditch" />

Miller teamed up with American photojournalist [[David E. Scherman]], a [[Life (magazine)|''Life'' magazine]] correspondent, on many assignments, including the [[liberation of Paris]], the [[Battle of Alsace]], and the horrors of the [[Nazism|Nazi]] [[concentration camp]]s at [[Buchenwald concentration camp|Buchenwald]] and [[Dachau concentration camp|Dachau]]. Scherman's iconic photograph<ref name="Bukhari" /> of Miller sitting in the bathtub in [[Hitler's Munich apartment|Adolf Hitler's private apartment]] in Munich,<ref name="LMbath">{{cite web |title=Lee Miller in Hitler's apartment at 16 Prinzregent – 2245 {{!}} LeeMiller |url=https://www.leemiller.co.uk/media/Lee-Miller-in-Hitler-s-apartment-at-16-Prinzregentenplatz-Note-the-combat-boots-on-the-bath-mat-now-stained-with-the-du/kX36YYnRPRhGQ1uHwG83hA..a |website=leemiller.co.uk |date=April 30, 1945 |quote=Note the combat boots on the bath mat now stained with the dust of Dachau; and a photograph of the previous owner of the flat propped on the edge of the tub. |access-date=February 2, 2021 |archive-date=November 8, 2014 |archive-url=https://web.archive.org/web/20141108012227/https://www.leemiller.co.uk/media/Lee-Miller-in-Hitler-s-apartment-at-16-Prinzregentenplatz-Note-the-combat-boots-on-the-bath-mat-now-stained-with-the-du/kX36YYnRPRhGQ1uHwG83hA..a |url-status=live}}</ref> with the dried mud of that morning's visit to Dachau on her boots deliberately dirtying Hitler's bathroom,<ref>{{cite web |last=Beggs |first=Alex |title=Don't Let History Forget This Incredible Female World War II Photographer |url=https://www.vanityfair.com/culture/2015/09/female-wwii-photographer-lee-miller |website=[[Vanity Fair (magazine)|Vanity Fair]] |archive-url=https://web.archive.org/web/20201116004238/https://www.vanityfair.com/culture/2015/09/female-wwii-photographer-lee-miller |archive-date=November 16, 2020|date=September 30, 2015 |url-status=live |quote=After trudging through the liberated concentration camps at Buchenwald and Dachau... Lee Miller took off her muddy boots, making sure to wipe their horrific mud on the clean, fluffy bathmat, and posed in Hitler's bathtub.}}</ref> was taken in the evening on 30 April 1945, coincidentally the same day that [[Death of Adolf Hitler|Hitler committed suicide]].<ref name="BBC-WitHist1">{{cite web | url = https://www.bbc.co.uk/sounds/play/w3ct4x9p | title = Witness History – Lee Miller in Hitler's bath | date = 12 Jun 2023 | website = bbc.co.uk | publisher = BBC World Service | access-date = 5 October 2024 | quote = I was living in Hitler's private apartment when his death was announced. It was midnight of May Day, it was snowing, we were celebrating being there anyhow and the dry, convincing voice of the BBC was just another vague rumour. Well alright. He was dead. He'd never really been alive for me until this day. He'd been an evil machine monster all these years, until I visited all the places he'd made famous, talking to the people who knew him, dug into backstairs gossip, and ate and slept in his house.}}</ref> After posing for the bathtub photograph, Miller took a bath in the tub, and then slept in Hitler's bed.<ref name="JDGiovanni" /><ref name="BBC-WitHist2">{{cite web | url = https://www.bbc.co.uk/sounds/play/w3ct4x9p | title = Witness History – Lee Miller in Hitler's bath | date = 12 Jun 2023 | website = bbc.co.uk | publisher = BBC World Service | access-date = 5 October 2024 | quote = He had so recently been there. The private telephone wires were still operating, and one of the soldiers picked up the phone. I took some pictures of the place, and I also got a good night's sleep in Hitler's bed.}}</ref> She was also photographed in [[Eva Braun]]'s bed.<ref>{{cite web |title=Lee Miller in Eva Brauns bed |url=http://www.leemiller.co.uk/media/aNDpfu83sUQxWZ8DuzWxtg..a |website=leemiller.co.uk |year=1945 |access-date=February 2, 2021 |archive-date=February 6, 2021 |archive-url=https://web.archive.org/web/20210206194809/http://www.leemiller.co.uk/media/aNDpfu83sUQxWZ8DuzWxtg..a |url-status=dead}}</ref>

During this period, Miller photographed dying children in a Vienna hospital, peasant life in post-war Hungary, corpses of Nazi officers and their families, and finally, the execution of former Hungarian Prime Minister [[László Bárdossy]]. After the war, she continued working for ''Vogue'' for another two years, covering fashion and celebrities.<ref name="2007-09-08 Guardian" />

At the war's end, Miller's work as a wartime photojournalist continued as she sent [[telegram]]s back to the British ''Vogue'' editor, Audrey Withers, urging her to publish photographs from the camps.<ref>Miller, Lee. "Germans Are Like This." British ''Vogue,'' (Features/Articles/People), June  1945, 105(10), pp. 102j, 192, 193. [https://archive.vogue.com/article/1945/06/01/germans-are-like-this Digitized] in Vogue Online Archive (registration required). Retrieved October 2, 2024.</ref> She did this following a CBS broadcast from Buchenwald by [[Edward R. Murrow]], and [[Richard Dimbleby]]'s BBC broadcast from inside [[Bergen-Belsen]].<ref>[[Edward R. Murrow|Murrow, E. R.]] (April 16, 1945). "They Died 900 a Day in 'the Best' Nazi Death Camp. Buchenwald, Germany", CBS.</ref><ref name="Hilditch" /> This was in consequence of people's disbelief at such atrocities, when these broadcasters urged photographers to do what they could to show the public what they saw.

===Life in Britain===
After returning to Britain from central Europe, Miller suffered severe episodes of [[Major depressive disorder|clinical depression]] which her son believes was due to [[post-traumatic stress disorder]] (PTSD).<ref>{{Cite news |last=Hall |first=Chris |date=March 19, 2016 |title=Lee Miller, the mother I never knew |url=https://www.theguardian.com/lifeandstyle/2016/mar/19/lee-miller-the-mother-i-never-knew |access-date=September 14, 2024 |work=The Guardian}}</ref> He also described her alcoholism and recovery from alcohol abuse in his 1985 [[biography]], ''The Lives of Lee Miller.''

In November 1946, Miller was commissioned by British ''Vogue'' to illustrate an article titled, "When [[James Joyce]] Lived in Dublin", by Joyce's old friend and confidant Constantine Curran. Following a list given to her by Curran, Miller photographed numerous places and people in Dublin, many with a connection to Joyce. The article and photographs appeared in American ''Vogue'' in May 1947 and British ''Vogue'' in 1950. The photos provide a remarkable record of Joyce's hometown and Dublin during that time.<ref>{{cite web|url=http://2014.photoireland.org/program/lee-miller/|title=Lee Miller in James Joyce's Dublin|date=June 2014|work=PhotoIreland|access-date=December 7, 2021|archive-date=December 8, 2021|archive-url=https://web.archive.org/web/20211208153819/http://2014.photoireland.org/program/lee-miller/|url-status=live}}</ref>

In 1946, Miller travelled with Roland Penrose to the United States, where she visited Man Ray in California. After she discovered she was pregnant by Penrose, she divorced Bey and, on May 3, 1947, married Penrose. Their only son, [[Antony Penrose]], was born on September 9, 1947.<ref>{{Cite web |title=Antony Penrose |url=https://www.leemiller.co.uk/artists/antony-penrose/ |access-date=September 14, 2024 |website=Lee Miller Archives}}</ref> In 1949, the couple bought [[Farley Farm House]] in [[Chiddingly]], East Sussex. During the 1950s and 1960s, Farley Farm became a sort of artistic Mecca for visiting artists such as Picasso, Man Ray, [[Henry Moore]], [[Eileen Agar]], [[Jean Dubuffet]], [[Dorothea Tanning]], and [[Max Ernst]].

While Miller continued to do the occasional photo shoot for ''Vogue'', she soon discarded the darkroom for the kitchen, becoming a gourmet cook. According to her housekeeper Patsy, she specialized in "historical food" like roast [[suckling pig]] as well as treats such as marshmallows in a cola sauce (especially made to annoy English critic [[Cyril Connolly]] who told her Americans didn't know how to cook).<ref name="JDGiovanni" />

She also provided photographs for her husband's biographies of Picasso and [[Antoni Tàpies]]. However, images from the war, especially of the concentration camps, continued to haunt her, and she started on what her son later described as a "downward spiral". Her depression may have been accelerated by her husband's long affair with the trapeze artist Diane Deriaz.<ref name="prose" />

Miller was investigated by the British security service [[MI5]] during the 1940s and 1950s, on suspicion of being a [[Soviet Union|Soviet]] spy.<ref>{{cite news|last=Gardham|first=Duncan|title=MI5 investigated Vogue photographer Lee Miller on suspicion of spying for Russians, files show|url=https://www.telegraph.co.uk/news/uknews/defence/4927532/MI5-investigated-Vogue-photographer-Lee-Miller-on-suspicion-of-spying-for-Russians-files-show.html|access-date=May 9, 2014|newspaper=Daily Telegraph|date=March 3, 2009|archive-date=May 6, 2020|archive-url=https://web.archive.org/web/20200506010745/https://www.telegraph.co.uk/news/uknews/defence/4927532/MI5-investigated-Vogue-photographer-Lee-Miller-on-suspicion-of-spying-for-Russians-files-show.html|url-status=live}}</ref><ref name="S.Berg">{{cite web |url=http://news.bbc.co.uk/today/hi/today/newsid_7919000/7919211.stm |title=The Lee Miller File |author=Sanchia Berg |date=March 3, 2009 |work=Today BBC Radio 4 |access-date=September 22, 2015 |archive-date=March 4, 2009 |archive-url=https://web.archive.org/web/20090304130121/http://news.bbc.co.uk/today/hi/today/newsid_7919000/7919211.stm |url-status=live}}</ref>

In October 1969, Miller was asked in an interview with a ''[[New York Times]]'' reporter what drew her to photography. Her response was that it was "a matter of getting out on a damn limb and sawing it off behind you".<ref name="Bukhari" />