photography influences in the DaDa movement

1. Laszlo Moholy- Nagy
Laszlo Moholy-Nagy was born in a small farming town in southern Hungary. His father abandoned the family
when he was young, and his mother took Laszlo and his younger brother to live with their grandmother. “I lived
my childhood years in a terrible great quietness,” he later wrote. He left for Budapest in 1913 to study law, but his
studies were interrupted when he was drafted into the Army as an artillery officer in 1916. He experienced the
horror of war on the Russian and Italian fronts, which remained with him for the rest of his life. He drew daily
during this time as a soldier, sketching field life, his fellow officers, and the civilians he encountered. He discov-
ered a passion for drawing, and though he finished his law degree after the war ended, he had already decided to
become a painter.
By 1919, if not earlier, he was also experimenting with Dadaist compositions. And he may also have begun to
photograph at this time, probably introduced to photography by a friend, Érzsi Landau, who had her own stu-
dio in Budapest. When the War ended, László returned to Szeged, where he remained for almost a year before
leaving for Vienna at the end of 1919. In Vienna he joined the MA (Today) group of Hungarian avant-gardes in
exile, a group founded and led by the artist and 3 writer, Lajos Kassák. But he found Vienna uncongenial and in
the spring of 1920 he moved on to Berlin.
Although Moholy-Nagy considered himself primarily a painter throughout much of his career, he also produced
a great deal of photography. His first wife, Lucia, whom he met in Berlin in 1920, was a talented photographer
and went on to record the Bauhaus years with her camera. They experimented with “photograms” (camera-less
photographs in which light-sensitive paper is exposed directly to light), which allowed Moholy-Nagy to explore
light and shade, transparency, and form. While Moholy-Nagy was not the first to create this type of photograph,
he coined the name for the technique. In 1922, his success as a painter secured him a solo show at Galerie der
Sturm, the most popular gallery in Berlin. A year later he received an invitation to teach at the Bauhaus from
Walter Gropius.
Moholy-Nagy expressed himself more fully in the 11 films he made between 1926 and 1936. His first film, Berlin
Still-Life (1931), follows a documentary style he often employed. However, it was his famous Light-Play, Black-
White-Gray of 1930 that was distinctly avant-garde. In 1932, he and Lucia separated, and he married his second
wife, Sibyl, whom he had met at a film production studio. Their daughter Hattula was born in 1933.
“The illiterate of the future will be the person ignorant of the use of the camera as well as the pen.”
From 1937 to 1947, Moholy-Nagy dedicated himself to teaching as much as to his own work. He negotiated a
five-year contract as director of the New Bauhaus in Chicago
Moholy-Nagy, however, became seriously ill and was diagnosed with leukemia in November 1945. After x-ray
treatment, he returned to work as diligently as ever. In November 1946, he attended the Museum of Modern
Art’s Conference on Industrial Design as a New Profession. This conference was his last stand for his ideas of art
education, especially the idea that art should guide industry rather than industrialists dictate design. He died
from internal hemorrhaging soon after his return from Chicago
http://www.geh.org/fm/Amico99/HTMLSRC2/moholy_sld00001.html
https://azurebumble.wordpress.com/2011/10/07/laszlo-moholy-nagy-photograms/
http://www.theartstory.org/artist-moholy-nagy-laszlo.htm#
DADA in NY http://www.ieeff.org/ny.html

2. Photogram or Rayography
Photograms
The photogram represents a unique art form requiring only the action of light on a photosensitive substrate.
The history of photography is punctuated by practitioners who have developed a technique or style that has
become a part of art history. The first period of “photogram” exploration was to gain scientific record of natural
objects (e.g. Anna Atkins). The second period was a rediscovery of the artistic potential as illustrated by Chris-
tian Schad, Man Ray and Lazlo Moholy-Nagy in the Dada, Surrealist and Constructivist periods of art, respec-
tively.
More recently, photogramists have utilized the photogram as a means of artistic expression to produce a wide
variety of designs and surreal imagery.
This imagery is being created using traditional silver-gelatin black and white materials and other photosensitive
media including cyanotype that are now considered alternative methods. Others are using both negative and
positive acting color photographic materials to create ‘photograms’
http://www.photograms.org/Welcome.htm?m=1
http://en.wikipedia.org/wiki/Photogram
https://www.google.com/search?q=rayography&client=safari&rls=en&tbm=isch&tbo=u&source=univ&sa=X-
&ei=rVEMVYf8NrLasASlvIKIBw&ved=0CCUQsAQ&biw=1212&bih=711 images of rayography
https://john11photography.wordpress.com/2012/09/07/photogramrayographs-man-ray/
Man Ray
Man Ray, original name Emmanuel Radnitzky (born August 27, 1890, Philadelphia, Pennsylvania, U.S.—died
November 18, 1976, Paris, France), photographer, painter, and filmmaker who was the only American to play a
major role in both the Dada and Surrealist movements.
As early as 1911, he took up the pseudonym of Man Ray. As a young man, he was a regular visitor to Alfred
Stieglitz’s “291” gallery, where he was exposed to current art trends and earned an early appreciation for photog-
raphy. In 1915 Man Ray met the French artist Marcel Duchamp, and together they collaborated on many inven-
tions and formed the New York group of Dada artists. Like Duchamp, Man Ray began to produce ready-mades,

3. commercially manufactured objects that he designated as works of art. Among his best-known ready-mades is
The Gift (1921), a flatiron with a row of tacks glued to the bottom.
in 1921 Man Ray moved to Paris and became associated with the Parisian Dada and Surrealist circles of artists
and writers. Inspired by the liberation promoted by these groups, he experimented with many media. His exper-
iments with photography included rediscovering how to make “cameraless” pictures, or photograms, which he
called rayographs. He made them by placing objects directly on light-sensitive paper, which he exposed to light
and developed. In 1922 a book of his collected rayographs, Les Champs délicieux (“The Delightful Fields”), was
published, with an introduction by the influential Dada artist Tristan Tzara, who admired the enigmatic quality
of Man Ray’s images. In 1929, with his lover, photographer and model Lee Miller, Man Ray also experimented
with the technique called solarization, which renders part of a photographic image negative and part positive by
exposing a print or negative to a flash of light during development. He and Miller were among the first artists to
use the process, known since the 1840s, for aesthetic purposes.
Ray would utilize both traditional art forms and photography, but never together. He was quoted in an inter-
view saying, “I paint what cannot be photographed, that which comes from the imagination or from dreams, or
from an unconscious drive. I photograph the things that I do not wish to paint, the things which already have an
existence.” Ironically, his photography of things that “have an existence” would be placed under the umbrella of
Surrealism.
Ray revolutionized the idea of photography by taking a more artistic approach and experimenting with the tech-
nology behind photo making. He reinvigorated the photographic technique of solarization which was partly in-
spired by his work with photograms. Man Ray was an artist who saw everyday objects and found ways to make
bold cultural statements about them through a camera’s lens. Photography students with a penchant for the arts
can thank Man Ray for opening the door for truly original forms of photography in the main stream.Ray’s imag-
es live on today and can even be found online to help inspire an entirely new generation of photography students
looking at a degree.
Man Ray also pursued fashion and portrait photography and made a virtually complete photographic record
of the celebrities of Parisian cultural life during the 1920s and ’30s. Many of his photographs were published in
magazines such as Harper’s Bazaar, Vu, and Vogue. He continued his experiments with photography through
the genre of portraiture; for example, he gave one sitter three pairs of eyes, and in Le Violon d’Ingres (1924) he
photographically superimposed sound holes, or f holes, onto the photograph of the back of a female nude, mak-
ing the woman’s body resemble that of a violin. He also continued to produce ready-mades. One, a metronome
with a photograph of an eye fixed to the pendulum, was called Object to Be Destroyed (1923)—which it was by
anti-Dada rioters in 1957.
Man Ray also made films. In one short film, Le Retour à la raison (1923; Return to Reason), he applied the
rayograph technique to motion-picture film, making patterns with salt, pepper, tacks, and pins. His other films
include Anémic cinéma (1926; in collaboration with Duchamp) and L’Étoile de mer (1928–29; “Star of the Sea”),
which is considered a Surrealist classic.
In 1940 Man Ray escaped the German occupation of Paris by moving to Los Angeles. Returning to Paris in 1946,
he continued to paint and experiment until his death. His autobiography, Self-Portrait, was published in 1963
(reprinted 1999).
https://www.pinterest.com/jaxnewcombe/man-ray/
http://photography-colleges.com/photography-degree-inspiration-man-ray/
http://www.biography.com/people/man-ray-9452778#early-career
http://www.theartstory.org/artist-ray-man.htm
http://www.manray.net

4. Lee Miller
Lee Miller, original name Elizabeth Miller (born April 23, 1907, Poughkeepsie, New York, U.S.—died July 21,
1977, Farley Farm House, near Chiddingly, East Sussex, England), American photographer, Surrealist artist, and
model who might have been known primarily as the muse and lover of the Surrealist artist Man Ray had her son
not discovered and promoted her exceptional work as a fashion and war photographer and recovered her reputa-
tion as an artist in her own right.
Miller’s first encounter with photography was with her father, Theodore. An amateur photographer, he owned
a Kodak Brownie and a stereoscope, had a home darkroom, and taught her the basics of the craft. By and large,
Miller had a privileged and happy childhood. However, at age seven, while visiting relatives, Miller was raped by
a family friend, leaving her not only traumatized but also with gonorrhea, a disease that at that time was treated
with invasive procedures that she endured with some regularity through adulthood. Following the incident, her
father began taking photographs of her—and continued to do so into her 20s—in which he had her pose nude,
images that seem disturbing and inappropriate. Although she was forced to deal with the psychological and
physical repercussions of these unfortunate incidents, Miller was exceptionally beautiful, bright, and indepen-
dent—qualities that opened up many opportunities for her throughout her life.
Miller struggled in school and with finding direction in her studies. Initially interested in theatre, she studied
lighting and set design at the newly opened L’École Medgyés pour la Technique du Théâtre in Paris for seven
months. Then she briefly joined the Experimental Theatre at Vassar College and took dance lessons and per-
formed in New York City. In 1926, at age 19, she left home for good, began modeling, and enrolled in the Art
Students League in Manhattan, where she studied life drawing and painting. That winter she met magazine pub-
lishing magnate Condé Nast when he saved her from being hit by oncoming traffic. Impressed by her beauty, he
took her in to be a model for Vogue. She was on the cover of the American and British editions in March 1927.
Miller was photographed by the notable fashion photographers Arnold Genthe, Nickolas Muray, and Edward
Steichen. Unfortunately, a photograph taken by Steichen was placed in a Kotex feminine products ad (1928–29),
which was somewhat scandalous and embarrassing for her. Soon after the ad ran, Miller left New York City for
Paris.
In Paris, Miller sought out Man Ray and for three years lived with him as his student, collaborator, muse, and
lover. He taught her photography, and in 1929 they developed and worked on solarization, a technique that

5. reversed the negative and positive parts of a photo and produced halolike outlines that enhanced the lights and
darks. Man Ray created some of his most-recognized works while he was involved with and collaborating with
Miller, including Observatory Time—the Lovers (c. 1931), which features Miller’s lips. While Miller was in Paris,
she met many artists—Paul Éluard, Pablo Picasso, Max Ernst, Joan Miró—and photographed all of them. She
also met Jean Cocteau, a Surrealist artist and rival of Man Ray, who cast her in the leading role in his first film, Le
Sang d’un poète (1930–32; The Blood of a Poet). She and Man Ray split up, and Miller returned to New York City
in 1932.
Back in New York City, Miller set up a photo studio with her younger brother, Erik. Her training in theatrical
lighting came in handy when installing the necessary equipment and electrical wiring in her studio. She began
doing celebrity portraiture, surrealist photographs, and advertising work. She also continued to model for and
began photographing for Vogue. In at least one instance she was both the artist and the subject for a Vogue fash-
ion spread, Self-Portrait in Headband (1933). In 1934 Miller married an Egyptian man, Aziz Eloui Bey, and went
to live in Cairo with him. There she photographed the pyramids, the desert, villages, and ruins. She took trips
on her own to Paris, and during one visit in 1937 she met the British Surrealist artist Roland Penrose. They fell
in love, traveled together, and visited famous artists around Europe. They spent time with Picasso, who painted
Miller six times, including Portrait of Lee Miller as L’Arlésienne (1937). In 1939 she left Bey and moved to Lon-
don to be with Penrose. The next year Miller photographed London during and after the Blitz—as the German
wartime night raids on Britain’s industrial centres came to be called—a series that was published in Grim Glory:
Pictures of Britain Under Fire (1941), with a preface by the American news broadcaster Edward R. Murrow.
Miller also became a prolific contributor of articles and photography to British Vogue.
By 1943 Miller had become an accredited war correspondent for Vogue, and the following year she teamed up
with Life photojournalist David E. Scherman. Together they followed the 83rd Infantry Division of the U.S.
Army as it advanced on the front lines. Miller became the first female photojournalist to do so. She photo-
graphed the Liberation of Paris, the battle of Saint-Malo, field hospitals in Normandy, and the liberation of both
the Dachau and Buchenwald concentration camps. Her photographs, some of the first photographic evidence of
the Holocaust, were a horrifying glimpse of the atrocities committed by the Nazis in the camps. From Dachau
she and Scherman went to Hitler’s private apartment in Munich. She had Scherman photograph her washing
herself in Hitler’s bathtub, her muddy boots on the bathmat. In 1945 Miller traveled throughout eastern Europe
to see and photograph the devastating aftermath of the war.
Despite a struggle with depression, alcoholism, and what is now recognized as post-traumatic stress disorder
following the war, she returned to London and continued to take photographs, especially of artists and writers,
such as Yves Tanguy, Ernst, Dorothea Tanning, Wifredo Lam, Dylan Thomas, and Isamu Noguchi. She married
Penrose in 1947 and at age 40 became pregnant and gave birth to her son, Antony. Two years later Miller and
Penrose bought Farley Farm House in East Sussex, where they hosted artists and writers, many of whom she
photographed in casual and intimate settings, in particular Picasso, who had a close relationship with each mem-
ber of the family. Miller’s final piece for Vogue (July 1953) was titled “Working Guests,” and it showed such art
world figures as the director of New York City’s Museum of Modern Art Alfred H. Barr, Jr., feeding the pigs on
their farm. Miller assisted Penrose, who was writing biographies of artists, by photographing his subjects, includ-
ing Picasso and Antoni Tàpies. In the early 1950s Miller finished with photography and reinvented herself as a
gourmet cook, attending the Cordon Bleu in Paris. She hosted Surrealist dinner parties and made wildly experi-
mental dishes, serving her guests foods such as green chicken or blue fish, the latter said to have been inspired by
Miró.
After Miller died of cancer, her son and his wife discovered some 60,000 negatives, 20,000 prints and contact
sheets, documents, and writings boxed up in the attic of Farley Farm House. From the 1980s Antony Penrose,
who had known nothing of his mother’s photography career, worked to archive and promote her work, which
had been largely forgotten by the art world. Through his efforts, she became the subject of several exhibitions,
biographies, and monographs.
https://www.pinterest.com/jaxnewcombe/lee-miller/
http://www.britannica.com/EBchecked/topic/1370724/Lee-Miller
http://www.leemiller.co.uk/app/WebObjects/LeeMillerShop.woa/wo/7.0.7.3.21.1.0.3.1.1.1
http://www.npr.org/2011/08/20/139766533/much-more-than-a-muse-lee-miller-and-man-ray

6. Berenice Abbott
Berenice Abbott was born in Springford, Ohio, in 1898. After graduating from Ohio State University she moved
to New York to study journalism, but eventually decided on sculpture and painting.
In 1921 she moved to Paris to study with sculptor Emile Bourdelle. Abbot also worked with the surrealist pho-
tographer, Man Ray (1923-25), before opening her own studio in Paris. She photographed the leading artists in
France and had her first exhibition at the Au Sacre du Printemps Gallery in 1926.
Berenice Abbott’s first photographs date from 1925 and were taken at Man Ray’s Paris studio. At the start of her
career she made a conscious decision, dictated by artistic and commercial considerations, to pursue portraiture.
She enjoyed immediate critical and financial success and within a year had her own studio and gallery showings.
The output of this first phase of her career is often referred to as ‘’Paris Portraits’’; but in reality some of these
photographs were taken in New York between 1929 and 1931, and it is impossible to differentiate stylistical-
ly between those made in one city or the other. All these portraits were made on medium to large glass plates.
Abbott’s career as a portraitist waned when the economic pressures of the Depression forced her to give up her
studio in 1931, by which time she was devoting herself to photographing New York.
Abbott returned to the United States in 1929 and embarked on a project to photograph New York. Abbott’s first
major photographic project, documenting New York City, began in 1929, shortly after she returned from Paris.
Her documentation of this growing and changing but ultimately timeless city is one of Abbott’s finest accom-
plishments. There is little doubt it is the best known. Abbott’s earliest photographs were simply notes, taken with
a small camera for future reference. The size of her negatives and scope of her project increased until finally, by
1932, all were made with her 8” x 10” Century Universal. Many of her well known New York images were pro-
duced under the auspices of The Federal Art Project from 1935 to 1939. However she continued to photograph
New York City through 1956.

7. In 1935 she managed to obtain funding for this venture from the Works Progress Administration (WPA) and
its Federal Art Project. In 1936 Abbott joined with Paul Strand to establish the Photo League. Its initial purpose
was to provide the radical press with photographs of trade union activities and political protests. Later the group
decided to organize local projects where members concentrated on photographing working class communities.
Abbott’s photographs of New York appeared in the exhibition, Changing New York, at the Museum of the City in
1937. A book, Changing New York, was published in 1939.
In 1939 Abbott began her most ambitious photographic project. Believing scientific phenomena to be as valid a
subject for artistic statements as man and his works, she undertook to prove that photography was the medium
uniquely qualified to unite art with science. She labored alone for nearly twenty years with little or no encourage-
ment until finally, in 1958, her work was recognized by the Physical Science Study Committee and she was hired
to work with that group at the Massachusetts Institute of Technology for three years. In this period, spanning
twenty-two years, Abbott produced thousands of photographs in formats ranging from 8” x 10” to 16” x 20” and
designed and patented a good deal of scientific equipment, including two cameras. Abbott’s scientific photo-
graphs are her most significant and in years to come they will perhaps be recognized as her outstanding accom-
plishment.
She is also published a Guide to Better Photography (1941). In the late 1950s Abbott began to take photographs
that illustrated the laws of physics. Berenice Abbott died in Monson, Maine, in 1991.
“ I propose that this medium of photography is so young that it is not fully understood by experts or by photog-
raphers. The greatest influence obscuring the field has been pictorialism. At this point it may be appropriate to
define pictorialism. My definition would be something like this: that pictorialism means chiefly the making of
pleasant pretty pictures in the spirit of certain minor painters. What is more, the imitators of painting imitate the
superficial qualities of painting, are not themselves aware of the true values for which painting strives. The only
relationship is that of a two-dimensional image on a flat surface within a certain area, but the natures of those
two images are worlds apart. Photography can never grow up and stand on its own two feet if it imitates primari-
ly some other medium. It has to walk alone. It has to be itself.”
https://www.flickr.com/photos/32357038@N08/8293077834/in/album-72157632190002388/
http://www.commercegraphics.com/ba_gallery.html
http://www.commercegraphics.com/ba_bio.html

8. MOLHOLY
MOLHOLY
MILLER
MAX
ABBOTT
RAYABBOTT

9. 1.LASZLO MOHOLY- NAGY
a.born in HUNGERY,studied to be a lawyer
b.drafted into WW1 drew daily during this time as a soldier, sketching field life,
d. moved VIENNA in1919,where stsrted experimenting with Dadaist compositions.
e. probably introduced to photography by a friend, Érzsi Landau then in 1920 BERLIN where
f. His first wife, Lucia, was a talented photographer and went on to record the Bauhaus years
with her camera.
g.They experimented with “photograms” (camera-less photographs in which light-sensitive
paper is exposed
directly to light)
h.he received an invitation to teach at the Bauhaus from Walter Gropius.
i. expressed himself more fully in the 11 films he made between 1926 and 1936. His first film,
Berlin Still-Life (1931), follows a documentary style
j.he married his second wife, Sibyl, met at a film production studio. daughter Hattula was born
in 1933.
k. From 1937 to 1947, Moholy-Nagy dedicated himself to teaching as much as to his own work.
He negotiated a five-year contract as director of the New Bauhaus in CHICAGO
l. This conference was his last stand for his ideas of art education, especially the idea that art
should guide industry rather than industrialists dictate design. He died from internal hemor-
rhaging soon after his return from Chicago Nov. 46 he was 51.
2. MAN RAY
a.born EMMANUEL RADNITZKY August 27, 1890, Philadelphia
b.1911, he took up the pseudonym of Man Ray. visitor to Alfred Stieglitz’s “291” gallery, ex-
posed to current art trends and earned appreciation for photography.
c. 1915 Man Ray met the French artist Marcel Duchamp, they collaborated New York group of
Dada artists
d.. 1921 Man Ray moved to Paris and became associated with the Parisian Dada and Surrealist
e. His experiments with photography included rediscovering how to make “cameraless” pic-
tures, or photograms, which he called rayographs.
f. 1922 a book of his collected rayographs, Les Champs délicieux (“The Delightful Fields”), was
published, with an introduction by the influential Dada artist Tristan Tzara
g. In 1929, with his lover, photographer and model Lee Miller, Man Ray also experimented with
the technique called solarization, which renders part of a photographic image negative and part
positive by exposing a print or negative to a flash of light during development. He and Miller
were among the first artists to use the process, known since the 1840s, for aesthetic purposes.
h.Ray revolutionized the idea of photography by taking a more artistic approach and experi-
menting with the technology behind photo making.
i. Man Ray was an artist who saw everyday objects and found ways to make bold cultural statements about
them through a camera’s lens.
j.Man Ray also pursued fashion and portrait photography and made a virtually complete photographic record
of the celebrities of Parisian cultural life during the 1920s and ’30s.
k. Man Ray also made films. In one short film, Le Retour à la raison (1923; Return to Reason), he applied the

10. rayograph technique to motion-picture film, making patterns with salt, pepper, tacks, and pins.
l. In 1940 Man Ray escaped the German occupation of Paris by moving to Los Angeles. Return-
ing to Paris in 1946, he continued to paint and experiment until his death. His autobiography,
Self-Portrait, was published in 1963 m.DIED NOVEMBER 18, 1976, Paris, France
3. LEE MILLER
a.born elizabeth April 23, 1907, Poughkeepsie, New York,
b.American photographer, Surrealist artist, and model who might have been known primarily
as the muse Man Ray had her son not discovered and promoted her exceptional work as a fash-
ion and war photographer and recovered her reputation as an artist in her own right.
c. her father, Theodore. An amateur photographer, he owned a Kodak Brownie and a stereo-
scope, had a home darkroom, and taught her the basics of the craft.
d. Initially interested in theatre, she studied lighting and set design at the newly opened L’École
Medgyés pour la Technique du Théâtre in Paris for seven months.
e.Then she briefly joined the Experimental Theatre at Vassar College and took dance lessons
and performed in New York City.
f. In 1926, at age 19, she left home for good, began modeling, and enrolled in the Art Students
League in Manhattan, where she studied life drawing and painting.
g.That winter she met magazine publishing magnate Condé Nast when he saved her from being
hit by oncoming traffic.
h.Unfortunately, a photograph taken by Steichen was placed in a Kotex feminine products ad
(1928–29), which was somewhat scandalous and embarrassing for her. Soon after the ad ran,
Miller left New York City for Paris.
i. In Paris, Miller sought out Man Ray and for three years lived with him as his student, collab-
orator, muse, and lover. He taught her photography, and in 1929 they developed and worked on
solarization,
j.While Miller was in Paris, she met many artists—Paul Éluard, Pablo Picasso, Max Ernst, Joan
Miró—and photographed all of them. She also met Jean Cocteau, a Surrealist artist and rival
of Man Ray, who cast her in the leading role in his first film, Le Sang d’un poète (1930–32; The
Blood of a Poet). She and Man Ray split up, and Miller returned to New York City in 1932.
k.Back in New York City, Miller set up a photo studio with her younger brother, Erik. She
began doing celebrity portraiture, surrealist photographs, and advertising work. model for and
began photographing for Vogue. 1933 least one instance she was both the artist and the subject
for a Vogue fashion spread, Self-Portrait in Headband
l .got married to an egyptian and photographed CIRO and the desert
m.divorced moved to London w/Penrose became acontributor of articles and photography to
British Vogue.
n. 1943 Miller had become an accredited war correspondent for Vogue, and the following year
she teamed up with Life photojournalist David E. Scherman. Together they followed the 83rd In-
fantry Division of the U.S. Army as it advanced on the front lines. Miller became the first female
war corispondent She photographed the Liberation of Paris, the battle of Saint-Malo, field hospi-
tals in Normandy, and the liberation of both the Dachau and Buchenwald concentration camps.
Her photographs, some of the first photographic evidence of the Holocaust, were a horrifying

11. glimpse of the atrocities committed by the Nazis in the camps. went to Hitler’s private apartment
in Munich. Scherman photograph her washing herself in Hitler’s bathtub, her muddy boots on
the bathmat. In 1945 Miller traveled throughout eastern Europe to see and photograph the dev-
astating aftermath of the war.
o. post-traumatic stress disorder following the war, she returned to London and continued to
take photographs, especially of artists and writers, such as Yves Tanguy, Ernst, Dorothea Tan-
ning, Wifredo Lam, Dylan Thomas, and Isamu Noguchi.
p. She married Penrose in 1947 and at age 40 became pregnant and gave birth to her son, Ant-
ony. Two years later Miller and Penrose bought Farley Farm House in East Sussex, where they
hosted artists and writers, many of whom she photographed in casual and intimate settings, in
particular Picasso, Miller’s final piece for Vogue (July 1953) was titled “Working Guests,” and it
showed such art world figures as the director of New York City’s Museum of Modern Art Alfred
H. Barr, Jr., feeding the pigs she gave up photography to become a gormet cook and threw par-
ties where she would serve crazy foods she made up.DIED JULY 21, 1977, Farley Farm House,
Sussex,
4.Berenice Abbott
a. born in Springford, Ohio, in 1898. After graduating from Ohio State University she moved to
New York to study journalism, but eventually decided on sculpture and painting.
b.In 1921 she moved to Paris to study with sculptor Emile Bourdelle. Abbot also worked with
the surrealist photographer, Man Ray (1923-25), before opening her own studio in Paris. She
photographed the leading artists in France and had her first exhibition at the Au Sacre du Prin-
temps Gallery in 1926.
c. first photographs date from 1925 and were taken at Man Ray’s Paris studio. At the start of
her career she made a conscious decision, dictated by artistic and commercial considerations, to
pursue portraiture.
d.returned to the United States in 1929 and embarked on a project to photograph New York.
Abbott’s first major photographic project, documenting New York City,
e.Abbott’s earliest photographs were simply notes, taken with a small camera for future refer-
ence. The size of her negatives and scope of her project increased until finally, by 1932, all were
made with her 8” x 10” Century Universal.
f. In 1935 she managed to obtain funding for this venture from the Works Progress Adminis-
tration (WPA) and its Federal Art Project. In 1936 Abbott joined with Paul Strand to establish
the Photo League.
g A book, Changing New York, was published in 1939.
h.. She labored alone for nearly twenty years with little or no encouragement until finally, in
1958, her work was recognized by the Physical Science Study Committee and she was hired to
work with that group at the Massachusetts Institute of Technology for three years.
i.Abbott produced thousands of photographs in formats ranging from 8” x 10” to 16” x 20”
and designed and patented a good deal of scientific equipment, including two cameras. Abbott’s
scientific photographs are her most significant and in years to come they will perhaps be recog-
nized as her outstanding accomplishment.
j. died in Monson, Maine, in 1991.