Look up the definition of ‘Renaissance man’ in the Britannica dictionary and you’ll find this: the notion that humans should embrace all knowledge and develop themselves as fully as possible.
I suggest if one were to get gender specific and add an entry for ‘Renaissance woman,’ the definition could simply read: Lee Miller.
It’s clear my mind isn’t the only one that’s been gripped by this thought. It’s reflected in the title of the book I recently finished reading The Lives of Lee Miller, by Lee’s son Antony Penrose (Thames & Hudson Ltd, London, 2021).
Born in America in 1907, Lee’s light was reignited last year by the success of the film Lee, starring Kate Winslet in the title role. Although it only deals with one portion of Lee’s life – albeit the most dramatic part – that of her role as war correspondent during World War II. The photos she took during this period are iconic, in large part due to the unique eye of the photographer.
Lee had learnt her craft under the tutelage of the best, and the surreal. A great beauty, her transition from the role of model to that of photographer began in her father’s darkroom and developed under Man Ray, a celebrated photographer in late 1920s & early 1930s Paris.
It would be easy to suggest life often dealt Lee with the necessary cards at precisely the right stage of the game, but it was only because she came to the table in the first place that she was able to play her hand. ‘God helps those who help themselves.’ ‘In it to win it!’ Such sentiments certainly rang true throughout Lee’s life. She was fearless, believed she could be, do and have anything she set her mind to and (at least on the surface) cared little what others thought of her. She got it because she went for it.
Lee appeared to be almost prescient when it came to the occurrence of significant events in her life such as the circumstances surrounding her introduction to the magazine publisher, Condé Nast and the aforementioned Man Ray. The same applies to situations in which she found herself that provided some incredible photo opportunities. I won’t give any spoilers here but these all add to the idea that Lee was not an ordinary mortal.
The ‘lives’ referenced in the title of Penrose’s biography are those of rebellious daughter, liberated lover, favoured Vogue cover model, innovative photographer, surrealist, writer, unorthodox mother, classical music aficionado and Cordon Bleu cook. Each incarnation was lived during the most exciting of changing times in New York, Paris, the South of France, war-ravaged Europe, London during the blitz and they culminate in a rural farmhouse about 5 miles away from where I live in East Sussex. They are lived fearlessly and with a constant yearning for innovation and adventure.
Of course, such rampant prodigy brought its own problems. Lee struggled with her demons, which seem so often to accompany creativity and brilliance. Her best pieces were often produced after lashings of self-flagellation, the wheels of creativity oiled by not inconsiderable measures of alcohol. The film did a good job of alluding to the challenging relationship between mother and son. The book takes us deeper into this and other significant associations. Lee’s beauty, intelligence and incredible charisma brought her adulation from many quarters and by the time she and her husband, artist, Roland Penrose, settled at Farleys House, Muddles Green, East Sussex, in 1949 the guest list was as impressive as its owners with many Surrealists passing through the leafy lanes of Sussex en route to Farleys. As well as the very famous Pablo Picasso, the locals were just as likely to happen upon Dorothea Tanning, Max Ernst, Man Ray and others in the village shop. Picasso loved it so much that he entertained thoughts of becoming a Sussex farmer.
I recommend the film, of course, and the book, which is dedicated to Lee’s close friend and fellow war correspondent, David E. Scherman who features heavily in the film. More than this, I highly recommend a visit to what is now officially Farleys House & Gallery. There are separate blocks housing the galleries, one of which is The Lee Miller Gallery. During my visit, it housed a large number of Lee’s photographs interspersed with stills from the film showing the scenes faithfully reproduced from the original photos. Having seen the film first, I doff my cap to the film-makers who stuck so closely to the historic reality.
The garden provided Lee with produce for her recipes – fruit, vegetables and herbs – and they’re still used today. They offer a relaxing place to meditate, stroll or picnic with views over the South Downs. Parts are a sculpture garden, designed by Roland, including works collected by Lee & Roland, plus contemporary pieces. My two favourites were a water feature that was quite mesmerising and the horizontal pieces that made up Fallen Giant (1965) by Michael Werner.
The Galleries and Garden are, in themselves, worth a trip and it’s possible to buy a ticket just to visit these. Possible, but not recommended. See the house and do the tour. You’ll recognise the living room from the film set, where Lee and a young man talk about her time as a war correspondent, but you’ll be enthralled by every room.
You get to see Lee’s kitchen, still equipped to satisfy her reinvention as a haute cuisine cook with surrealism flavouring her innovative culinary productions. Picasso may not have followed up on his thought of farming in Sussex, but he left behind plenty of evidence of his visits to Farleys in the form of photographs, paintings and even a ceramic tile set in the kitchen wall above the oven. Imagine getting the Flash out to scrub the grease off one’s Picasso!
Throughout the house, you’ll find an abundant collection of surrealist and traditional, artworks, including stunning wall paintings. The dining room is particularly impressive with Roland’s depiction of the Long Man of Wilmington (a huge piece of ancient hillside art that can be seen from the house) behind the fireplace. Also, look out for the mummified rat in the glass case along the corridor!
The final room we visited was Lee’s studio, built onto the house to provide her own separate space in which to indulge her passions.
Tours are intimate, restricted to a maximum of 10 persons and last about an hour. Our chief guide was Jenny Batty, who was both incredibly knowledgeable and passionate about her subject. Jenny was ably assisted by Elaine O’Brien. Be sure to book well in advance as spaces on the house visits fill up quickly.
And there’s more. There’s a café that counts some of Lee’s culinary creations among its gastronomic options. Even here, the walls house exhibitions that changes periodically. In addition, Farleys hosts regular workshops in cookery, art and photography – to be pre-booked, naturally. Finally, be sure to visit the beautifully laid-out and very well-stocked gift shop where you can find reproductions of artworks as well as jewellery, homeware and books including a beautifully presented cookery book A Life with Food, Friends and Recipes, containing Lee’s recipes and the stories surrounding them, and by Antony, the book I purchased and highly recommend: The Lives of Lee Miller.
Lee died of cancer on 21 July 1977. In her 70 years on this planet, she lived a full life and has left a helluva legacy. Don’t take my word for it, see for yourself. I promise, it’ll be time well spent but let me add a caveat. Whatever opinion you form of Lee, she’ll creep into your psyche and take up residence. I cannot say for how long because she hasn’t yet vacated mine.
Farley’s House & Gallery
Muddles Green
Chiddingly
BN8 6HW
+(0)1825 872856
www.farleyshouseandgallery.co.uk
A very comprehensive and accurate description of what is on offer at Farley Farm -one of my old favourite local East Sussex attractions too! Loved the film ´Lee and Antony’s latest book on her life and fabulous achievements.
Thank you Maria for your review.