Elizabeth "Lee" Miller, Lady Penrose, was an American photographer and photojournalist. Miller was a fashion model in New York City in the 1920s before going to Paris, becoming a fashion and fine art photographer there. During World War II, she was a war correspondent for Vogue, covering events such as the London Blitz, the liberation of Paris, and the concentration camps at Buchenwald and Dachau.
Claude Cahun was a French surrealist photographer, sculptor, and writer.
Henriette Theodora Markovitch, known as Dora Maar, was a French photographer, painter, and poet. A romantic partner of Pablo Picasso, Maar was depicted in a number of Picasso's paintings, including his Portrait of Dora Maar and Dora Maar au Chat.
Maison Bonfils was a French family-run company producing and selling photography and photographic products from Beirut from 1867 until 1918, from 1878 on renamed "F. Bonfils et Cie". The Bonfils ran the first and, in their time, most successful photographic studio in the city. Maison Bonfils produced studio portraits, staged biblical scenes, landscapes, and panoramic photographs.
Dora Maar au Chat is an oil-on-canvas painting by Pablo Picasso. It was painted in 1941 and depicts Dora Maar, the artist's lover, seated on a chair with a small cat perched on her shoulders. The painting is listed as one of the most expensive paintings, after achieving a price of $95 million at Sotheby's on 3 May 2006. It is currently the sixth-highest-selling painting by Picasso.
Women Surrealists are women artists, photographers, filmmakers and authors connected with the surrealist movement, which began in the early 1920s.
The participation of women in photography goes back to the very origins of the process. Several of the earliest women photographers, most of whom were from Britain or France, were married to male pioneers or had close relationships with their families. It was above all in northern Europe that women first entered the business of photography, opening studios in Denmark, France, Germany, and Sweden from the 1840s, while it was in Britain that women from well-to-do families developed photography as an art in the late 1850s. Not until the 1890s, did the first studios run by women open in New York City.
Geneviève Élisabeth Disdéri was an early French photographer. In 1843, she married the pioneering photographer André-Adolphe-Eugène Disdéri, partnering with him in their Brest daguerrotype studio from the late 1840s. After her husband left for Paris in 1852, Geneviève continued to run the atelier alone. She is remembered for her 28 views of Brest, mainly architectural, which were published as Brest et ses Environs in 1856. In 1872, she moved to Paris, opening a studio in the Rue du Bac where she was possibly assisted by her son Jules. Trade listings indicate she continued to operate her studio until her death in a Paris hospital in 1878. She was one of the first female professional photographers in the world, active only shortly after Bertha Beckmann and Brita Sofia Hesselius.
Bénédicte Van der Maar is a French photographer and artist.
This is a timeline of women in photography tracing the major contributions women have made to both the development of photography and the outstanding photographs they have created over the 19th, 20th and 21st centuries.
Rogi André was a Hungarian-born French photographer and artist. She was the first wife of André Kertész.