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"  Photo: Man Ray (1890\u20131976): &amp;quot;A l&amp;#039;heure de l&amp;#039;observatoire \u2013 les amoureux (Observatory Time \u2013 The Lovers),&amp;quot; c. 1931, The Israel Museum, Jerusalem 2011 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris Photo The Israel Museum by Avshalom Avital The latest exhibit at San Francisco&amp;#039;s Legion of Honor, Man Ray/Lee Miller: Partners in Surrealism, which runs through October 14, showcases a great romance between American fashion model, Lee Miller, and surrealist artist, Man Ray. The exhibit presents some 115 works illustrating the couple&amp;#039;s fruitful times together. It includes abstract portraits, surrealist objects, and mysterious, tantalizing paintings. There are plenty of photos of Miller&amp;#039;s sinuous naked body, and many depictions of her sensuous lips, floating in the sky or rendered in luxurious gold. Yet, Man Ray/Lee Miller stresses that Miller was not only Ray&amp;#039;s most famous muse; she was also his collaborator and a great artist in her own right. For example, it was Miller who, accidentally, discovered the solarization technique that would become one of Ray&amp;#039;s hallmarks: In it, a film is briefly exposed to light, and the resulting image has a silvery, ghost-like effect.  The story of their relationship is an enchanting one: In 1929, young Miller went to Paris in search of Ray. When she finally saw him, in a bar near his studio, she begged him for photography lessons. &amp;quot;I don&amp;#039;t have students&amp;quot; Ray bristled, saying he was leaving the next day for Biarritz. &amp;quot;So am I,&amp;quot; Miller replied. It wasn&amp;#039;t long before the much-older Ray fell in love with the gamine blonde, and the two would go on to form a rich, creative alliance that far exceeded their four-year affair. If Ray&amp;#039;s art during their relationship, and in the immediate years following, reveal an obsession with Miller\u2014one of his most famous works, &amp;quot;Object to Be Destroyed,&amp;quot; has an image of her eye affixed to a metronome\u2014Miller&amp;#039;s pictures show a struggle for independence. A photograph of her friend Tanja Ramm&amp;#039;s head under a bell jar hints at the way Miller felt men wanted to capture and display her as a trophy. And while Ray&amp;#039;s snapshots of Miller show her languid and vulnerable, her own self-portraits highlight her athletic body and her strength. Miller would continue her surrealist experiments after leaving Ray, but her documentary photography would prove to have the biggest impact on the world, and on herself. As a World War II correspondent, Miller covered the London Blitz, the liberation of Paris, and the horrors of concentration camps in Buchenwald and Dachau, and the images would haunt her for the rest of her life.  Ray, ultimately, gave Miller the support, encouragement, and drive she needed to leave him and follow her own, blazing path; she gave him his most enduring subject. Together they helped shape the course of modern art. Intrigued? Check out a sneak peek of the artwork, here!  Photo: Man Ray (1890 \u2013 1976): Lee Miller, ca. 1930 Solarized vintage gelatin silver print The Artists Estate 2010. All rights reserved. The Penrose Collection.  Photo: Lee Miller (1907\u20131977): Man Ray Shaving, c.1929 Gelatin silver print, Lee Miller Archives, Sussex, England  Photo: Man Ray (1890\u20131976): Neck, c. 1930 The Roland Penrose Collection, England 2010 Man Ray Trust/Artists Rights Society (ARS), New York/ADAGP, Paris/Courtesy of The Penrose Collection. All rights reserved "^^<http://www.w3.org/2001/XMLSchema#string>
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