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Edward Weston: Forms of Passion

Pitts, Terence; Stock, Trudy Wilner; Theodore E. Stebbins, Jr.; Trachtenberg, Alan

18 avis par Goodreads
ISBN 10: 0810939797 / ISBN 13: 9780810939790
Edité par Harry N. Abrams
Etat : Very Good Couverture rigide
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0810939797 Hardcover with dust jacket. Book is in very nice condition, text is unmarked and pages are tight. N° de réf. du libraire B14234

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Détails bibliographiques

Titre : Edward Weston: Forms of Passion

Éditeur : Harry N. Abrams

Reliure : Hardcover

Etat du livre :Very Good

A propos de ce titre

Synopsis :

This new book surveys Edward Weston's work more comprehensively and exhaustively than any previous work. A combination of biography and critical analysis, it offers more than 320 meticulously reproduced duotone images, nearly a quarter of which have never been reproduced in books before. The selected photographs trace Weston's career from his early days, through formative years in Mexico, and on through the balance of his career, which ended because of the onset of Parkinson's disease ten years prior to his death in 1958. Treated chronologically and emphasizing Weston's creative preoccupations in each period, the book includes work that he created in 1938 and 1939 with funds from the first two Guggenheim Foundation grants ever awarded to a photographer.
To illustrate the book vintage prints have been selected from the copious Weston Archives at the Center for Creative Photography in Tucson, Arizona, and the highly important Lane Collection at the Boston Museum of Fine Arts. Nearly 10,000 photographs have been examined in order to select those reproduced in the book.

From Library Journal:

Aperture. 1995. 96p. photogs. ISBN 0-89381-605-1. $40. PHOTOG Weston's (1886-1958) photographic career began in 1911 and ended in 1948, with the onset of Parkinson's disease. Beaumont Newhall called Weston the founding father of American photography; certainly his straightforward, modernist approach dominated American photography until well after his death. Of these two new books, editor Mora's is the more valuable for history of photography and fine arts collections. His survey presents Weston's life comprehensively and exhaustively than has been attempted in any of the numerous Weston monographs before. The essays offer biographical information and analyze the photographs in the context of what Weston was doing and thinking at the time. Mora (former editor of Les Cahiers de la Photographie) provides an introduction and discusses Weston's work in Mexico; other writers, all well-qualified curators and academics, discuss such topics as Weston's earliest work; his experimental work with nudes and natural forms; and the work Weston did under his two Guggenheim fellowships from 1937 to 1939 (the first ever awarded for photography). The book draws on two major collections: those at the Center for Creative Photography, which has the Weston Archives, and the Lane Collection at the Boston Museum of Fine Arts. From about 10,000 images, the book shows 130, 25 percent of which have never before been reproduced. The photographs are arranged chronologically and are grouped to accompany the five essays. The illustrations are fine though not as rich as those in Aperture's Portraits. This serious, scholarly book, with well-written, engaging essays is appropriate for research collections and lay readers alike. Aperture's Edward Weston: Portraits is a less ambitious and more casual presentation of one part of Weston's portfolio, the portraits that earned his keep and comprise 70 percent of his work, according to the book jacket. In the finest reproduction quality, the most familiar portraits of famous artists, writers, and others who featured in Weston's life and work are presented in roughly chronological order. Cole Weston's one-page recollection of his father is warm and anecdotal. Morgan (contributing writer at Elle and Mirabella and author of Martin Munkasci, Aperture, 1992) contributed an essay that will appeal to the informed lay reader rather than to specialists in photography. Weston's life is sketched out, and Morgan tells us about the people who were Weston's portrait subjects and models. However, in contrast to Edward Weston: Forms of Passion, there is little analysis of Weston's developing aesthetic except those thoughts of Weston himself from his Daybooks, quotes from which accompany some of the photographs.?Kathleen Collins, New York Transit Museum Archives, Brooklyn
Copyright 1996 Reed Business Information, Inc.

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