Editing Inge Morath (section)

==Later years (1962–2002)==
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Morath married Arthur Miller on 17 February 1962 and relocated permanently to the United States. Miller and Morath's first child, [[Rebecca Miller|Rebecca]], was born in September 1962.<ref>{{Cite web |title=Arthur Miller and Inge Morath: In The Country • Magnum Photos Magnum Photos |url=https://www.magnumphotos.com/arts-culture/society-arts-culture/arthur-miller-inge-morath-country/ |access-date=2025-03-02 |website=Magnum Photos |language=en-US}}</ref> The couple's second child, Daniel, was born in 1966 with [[Down syndrome]] and was institutionalized shortly after his birth.<ref name="NYT1">{{cite magazine | first=Suzanna | last=Andrews | title=Arthur Miller's Missing Act | date=September 2007 | url =https://www.vanityfair.com/culture/2007/09/miller200709 | magazine =Vanity Fair | access-date = 26 December 2010 }}</ref> [[Rebecca Miller]] is a film director, actress, and writer who is married to the actor [[Daniel Day-Lewis]].

After re-locating to the United States, during the 1960s and 1970s Morath worked closer to home, raising a family with Miller and working with him on several projects. Their first collaboration was the book ''In Russia'' (1969), which, together with ''Chinese Encounters'' (1979), described their travels and meetings in the Soviet Union and the [[People's Republic of China]].<ref>{{Cite web |title=Books of The Times |url=https://archive.nytimes.com/www.nytimes.com/books/00/11/12/specials/miller-russia.html |access-date=2025-03-03 |website=archive.nytimes.com}}</ref> ''In the Country'', published in 1977, was an intimate look at their immediate surroundings. For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the [[Connecticut]] countryside offered a fresh encounter with America.<ref>{{Cite web |title=Arthur Miller and Inge Morath: In The Country • Magnum Photos Magnum Photos |url=https://www.magnumphotos.com/arts-culture/society-arts-culture/arthur-miller-inge-morath-country/ |access-date=2025-03-03 |website=Magnum Photos |language=en-US}}</ref>

Reflecting on the importance of Morath's linguistic gifts, Miller wrote that "travel with her was a privilege because [alone] I would never been able to penetrate that way."<ref>Morath, Inge. ''The Road to Reno.'' Göttingen, Steidl, 2006. Page 111.</ref> In their travels Morath translated for Miller, while his literary work was the entrée for Morath to encounter an international artistic elite. The Austrian photographer [[Kurt Kaindl]], her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments."<ref>Kurt Kaindl, "Inge Morath: A Photographer's Biography," in ''Inge Morath: Fotografien 1952–1992''. Salzburg: Edition Fotohof, p. 27</ref>

Morath sought out, befriended, and photographed artists and writers. During the 1950s she  photographed artists for Robert Delpire's magazine ''L'Oeil'', including [[Jean Arp]] and [[Alberto Giacometti]].  She met the artist [[Saul Steinberg]] in 1958. When she went to his home to make a portrait, Steinberg came to the door wearing a mask which he had fashioned from a paper bag. Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks. Another long-term project was Morath's documentation of many of the most important productions of Arthur Miller's plays.

[[Image:Im bourgeois.jpg|thumb|right|[[Louise Bourgeois]] with her sculpture ''To Fall on Deaf Ears'', 1991]]
Some of Morath's signal achievements are in [[portrait photography|portraiture]], including posed images of celebrities as well as fleeting images of anonymous passersby. Her pictures of [[Boris Pasternak]]'s home, [[Pushkin]]'s library, [[Anton Chekhov|Chekhov]]'s house, [[Mao Zedong]]'s bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present. The writer [[Philip Roth]], whom Morath photographed in 1965, described her as "the most engaging, sprightly, seemingly harmless [[voyeur]] I know. If you're one of her subjects, you hardly know your guard is down and your secret recorded until it's too late. She is a tender intruder with an invisible camera."<ref name="Morath 1986"/>

[[Image:Im cobbhoffman.jpg|thumb|left|Actor [[Dustin Hoffman]] with [[Lee J. Cobb]], who originated the role of [[Willy Loman]] in Arthur Miller's ''[[Death of a Salesman]]'', 1965]]

As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully. Although photography was the primary means through which Morath found expression, it was but one of her skills. In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues. Morath wrote extensively, and often amusingly, about her photographic subjects. Although she rarely published these texts during her lifetime, posthumous publications have focused upon this aspect of her work.  They have brought together her photographs with journal writings, caption notes, and other archival materials relating to her various projects.

During the 1980s and 1990s, Morath continued to pursue both assignments and independent projects. The film ''Copyright by Inge Morath'' was made by German filmmaker [[Sabine Eckhard]] in 1992, and was one of several films selected for a presentation of Magnum Films at the [[Berlin International Film Festival]] in 2007. Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, [[Elliott Erwitt]] and others. In 2002, working with film director [[Regina Strassegger]], Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of [[Styria]] and [[Slovenia]]. This mountainous region, once part of the [[Austro-Hungarian Empire]], had become the faultline between two conflicting ideologies after World War II and until 1991, when attempts at rapprochement led to conflict on both sides of the border. The book ''Last Journey'' (2002), and Strasseger's film ''Grenz Räume'' (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.