Largely self-taught painter and freelance lecturer whose work could have witty overtones, as in her 1997 oil on canvas Dixie Lee Evans, “The Marilyn Monroe of Burlesque”, but could be frequently unsettling. They were likened to those of Otto Dix and other artists of the New Objectivity movement in 1930s Berlin. Lee said: “The women in my paintings go far beyond the passive status of decorative object. As their eyes lock with yours you cannot help wondering who they are and what they want with you…. My paintings are never at the expense of the models,” but are “from their perspective and they, not the viewer, are in control.” Lee’s work was included in several books, including Emmanuel Cooper’s The Sexual Perspective, 1992; Edward Lucie-Smith’s Art Today, 1996; and Judith Halberstamm’s Female Masculinity, 1998.