In each chapter, she presents a pair of women, consciously echoing the doubled and overlapping figures, the alter-egos and poup é es, that emerged in many of their artworks. She deftly weaves together the two women’s stories of creativity - Valentine was a poet, Lee a photographer and cook - with pen portraits of other female friends, lovers, and collaborators in the Surrealist movement.
But Chadwick’s engaging biographical studies of Surrealist women proves Penrose wrong. “THEY weren’t artists”: in Roland Penrose’s opinion, his two wives, Valentine Boué and Lee Miller, were merely beguiling muses.
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