Which Statements Describe Similarities Between the Art of George Okeeffe and Edward Weston?

May 05, 2022 Post a Comment

BIOGRAPHY

Edward Henry Weston was born March 24, 1886, in Highland Park, Illinois. He spent the majority of his childhood in Chicago where he attended Oakland Grammar School. He began photographing at the historic period of sixteen after receiving a Bull'due south Heart #2 camera from his begetter. Weston's first photographs captured the parks of Chicago and his aunt's farm. In 1906, following the publication of his start photograph in Camera and Darkroom, Weston moved to California. Subsequently working briefly as a surveyor for San Pedro, Los Angeles and Table salt Lake Railroad, he began working as an itinerant photographer. He peddled his wares door to door photographing children, pets and funerals. Realizing the demand for formal training, in 1908 Weston returned east and attended the Illinois College of Photography in Effingham, Illinois. He completed the 12-calendar month form in six months and returned to California. In Los Angeles, he was employed as a retoucher at the George Steckel Portrait Studio. In 1909, Weston moved on to the Louis A. Mojoiner Portrait Studio equally a photographer and demonstrated outstanding abilities with lighting and posing.) Weston married his commencement wife, Flora Chandler in 1909. He had four children with Flora; Edward Chandler (1910), Theodore Brett (1911), Laurence Neil (1916) and Cole (1919). In 1911, Weston opened his own portrait studio in Tropico, California. This would be his base of operation for the adjacent two decades. Weston became successful working in soft-focus, pictorial style; winning many salons and professional awards. Weston gained an international reputation for his high primal portraits and modernistic trip the light fantastic toe studies. Articles about his work were published in magazines such as American Photography, Photo Era and Photo Miniature. Weston also authored many articles himself for many of these publications. In 1912, Weston met photographer Margrethe Mather in his Tropico studio. Mather becomes his studio assistant and almost frequent model for the side by side decade. Mather had a very strong influence on Weston. He would later call her, "the beginning important adult female in my life." Weston began keeping journals in 1915 that came to be known every bit his "Daybooks." They would chronicle his life and photographic evolution into the 1930's.

In 1922 Weston visited the ARMCO Steel Plant in Middletown, Ohio. The photographs taken here marked a turning betoken in Weston'due south career. During this catamenia, Weston renounced his Pictorialism style with a new emphasis on abstract form and sharper resolution of particular. The industrial photographs were true straight images: unpretentious, and true to reality. Weston later wrote, "The camera should exist used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating mankind." Weston besides traveled to New York City this aforementioned year, where he met Alfred Stieglitz, Paul Strand, Charles Sheeler and Georgia O'Keeffe.

Photograph of Edward Weston by Cole Weston

In 1923 Weston moved to Mexico Urban center where he opened a photographic studio with his apprentice and lover Tina Modotti. Many of import portraits and nudes were taken during his time in Mexico. It was likewise here that famous artists; Diego Rivera, David Siqueiros, and Jose Orozco hailed Weston as the master of 20th century fine art.

After moving back to California in 1926, Weston began his work for which he is most deservedly famous: natural forms, shut-ups, nudes, and landscapes. Between 1927 and 1930, Weston fabricated a serial of awe-inspiring close-ups of seashells, peppers, and halved cabbages, bringing out the rich textures of their sculpture-like forms. Weston moved to Carmel, California in 1929 and shot the first of many photographs of rocks and copse at Point Lobos, California. Weston became one of the founding members of Group f/64 in 1932 with Ansel Adams, Willard Van Dyke, Imogen Cunningham and Sonya Noskowiak. The group chose this optical term because they habitually set their lenses to that aperture to secure maximum image sharpness of both foreground and distance. 1936 marked the start of Weston's serial of nudes and sand dunes in Oceano, California, which are ofttimes considered some of his finest work. Weston became the first lensman to receive a Guggenheim Fellowship for experimental work in 1936. Following the receipt of this fellowship Weston spent the next two years taking photographs in the West and Southwest United States with assistant and future wife Charis Wilson. Afterwards, in 1941 using photographs of the East and South Weston provided illustrations for a new edition of Walt Whitman'southward Leaves of Grass.

Weston began experiencing symptoms of Parkinson's disease in 1946 and in 1948 shot his last photograph of Betoken Lobos. In 1946 the Museum of Modernistic Art, New York featured a major retrospective of 300 prints of Weston'due south piece of work. Over the next 10 years of progressively incapacitating illness, Weston supervised the press of his prints by his sons, Brett and Cole. His 50th Anniversary Portfolio was published in 1952 with photographs printed by Brett. An even larger printing project took place between1952 and 1955. Brett printed what was known as the Project Prints. A series of 8 -10 prints from 832 negatives considered Edward'southward lifetime best. The Smithsonian Institution held
the prove, "The Earth of Edward Weston" in 1956 paying tribute to his remarkable accomplishments in American photography. Edward Weston died on January i, 1958 at his home, Wildcat Hill, in Carmel, California. Weston's ashes were scattered into the Pacific Bounding main at Pebbly Beach at Bespeak Lobos.