Inge Morath
"I found a number of these paintings exciting and fell in love with Franz Marc's Blue Horse", Morath later wrote.
In 1948, she was hired by Warren Trabant, first as Vienna Correspondent and later as the Austrian editor, for Heute, an illustrated magazine published by the Office of War Information in Munich.
In 1949, Morath and Haas were invited by Robert Capa to join the newly founded Magnum Photos in Paris, where she started as an editor.
When Guttman asked what Morath wanted to photograph, and why, she answered that "after the isolation of Nazism I felt I had found my language in photography.
In 1953, after Morath presented her first large picture story, on the Worker Priests of Paris, to Capa, he invited her to join Magnum as a photographer.
During the late 1950s, Morath traveled widely, covering stories in Europe, the Middle East, Africa, the United States, and South America, for such publications as Holiday, Paris Match, and Vogue.
"[18] In 1959, while photographing the making of The Unforgiven, starring Audrey Hepburn, Burt Lancaster, and Audie Murphy, Morath accompanied Huston and his friends duck hunting on a mountain lake outside Durango, Mexico.
[19] Morath worked again with Huston in 1960 on the set of The Misfits, a film featuring Marilyn Monroe, Clark Gable and Montgomery Clift, with a screenplay by Arthur Miller.
Their first collaboration was the book In Russia (1969), which, together with Chinese Encounters (1979), described their travels and meetings in the Soviet Union and the People's Republic of China.
For both Miller, who had lived much of his life in New York City, and Morath, who had come to the US from Europe, the Connecticut countryside offered a fresh encounter with America.
The Austrian photographer Kurt Kaindl, her long-time colleague, noted that "their cooperation develop[ed] without outward pressure and is solely motivated by their common interest in the people and the respective cultural sphere, a situation that corresponds to Inge Morath's working style, since she generally feels inhibited by assignments.
Over a period of several years, they collaborated on a series of portraits, inviting individuals and groups of people to pose for Morath wearing Steinberg's masks.
Her pictures of Boris Pasternak's home, Pushkin's library, Chekhov's house, Mao Zedong's bedroom, as well as artists' studios and cemetery memorials, are permeated with the spirit of invisible people still present.
"[18] As the scope of her projects grew, Morath prepared extensively by studying the language, art, and literature of a country to encounter its culture fully.
In addition to the many languages in which she was fluent, Morath was also a prolific diary and letter-writer; her dual gift for words and pictures made her unusual among her colleagues.
Eckhard filmed Morath at home and in her studio, and in New York and Paris with her colleagues, including Cartier-Bresson, Elliott Erwitt and others.
In 2002, working with film director Regina Strassegger, Morath fulfilled a long-held wish to revisit the lands of her ancestors, along the borderlands of Styria and Slovenia.
The book Last Journey (2002), and Strasseger's film Grenz Räume (Border Space, 2002), document Morath's visits to her homeland during the final years of her life.
