DOCSLIB.ORG

Tina Modotti to Ed"Ward "Weston

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tina Modotti to Ed e CENTER FOR CREATIVE PHOTOGRAPHY• UNIVERSITY OF ARIZONA RESEARCH SERIES NUMBER 22 JANUARY 1986 ��-l-��­ �w(�"��-·. THE LETTERS FROM TINA MODOTTI TO ED"WARD "WESTON Contents Director's Statement by James Enyeart 3 The Letters of Tina Modotti to Edward Weston by Amy Stark 4 Introduction 7 Beginnings: Los Angeles, 1921-1923 9 Art and Revolution: Mexico, 1923-1924 17 Divided Loyalties: California and Mexico, 1925-1926 29 New Directions: California and Mexico, 1927-1928 46 Separate Destinies: Carmel and Moscow, 1929-1931 59 Selective Index 79 Acquisitions: July-December 1983 compiled by Sharon Alexandra 82 From the Archives: Nancy Newhall Papers by Roger Myers 94 The Center for Creative Photography is a research museum devoted to twentieth-century photography. Among its extensive collections are complete archives of photographers who have made significant and creative contributions to the field. Each issue of the Center's research series, Tl,e Arc/Jive, is drawn from its extensive collections of photographs, manuscripts, and negatives; most issues include a plate section of facsimile reproductions. Subscribers to TJ,e Arc/Jive also receive announcements of coming exhibitions and copies of the Center's collection guide series as they appear. Subscriptions mailed within the United States are S25 for four issues of The Arc/Jive; foreign mailings are S35. This represents a substantial discount from single copy rates, usually one-third to one-half price. To subscribe, send your check or money order to: Subscriptions, Center for Creative Photography, University of Arizona, 843 E. University Blvd., Tucson, Arizona 85719. Center for Creative Photography University of Arizona Copyright© 1986 Arizona Board of Regents All Rights Reserved Photographs and Texts by Edward Weston Copyright © 1981 Center for Creative Photography Photograph by Nancy Newhall Copyright© 1986 The Estate of Nancy Newhall Designed by Nancy Solomon Bembo Typography by Tiger Typographies Printed by Fabe Litho Ltd. Bound by Roswell Bookbinding Single copies and trade orders are distributed by: University of Arizona Press 1615 E. Speedway FRONT COVER: Tucson, Arizona 85719 BACK COVER: Detail from Letter 24.5: Tina Modotti to Edward Weston, 29 December 1924; from the Edward Weston Archive Postcard, n.d.: inscribed in Tina Modotti's handwriting, "Tina-wristwatch and ring. Edward-sunday suit." The Archive, from the Edward Weston Archive Research Series, of the Center for Creative Photography is supported in part by the Polaroid Corporation and the National Endowment for the Arts Director5 Statement by JAMES ENYEART ALTHOUGH TINA MODOTTI HOLDS A SIGNIFICANT PLACE returned to the United States. in the history of photography and her work has been Amy Stark, the Center's archivist, has edited this the subject ofmonographs and essays, she is also con­ issue of The Archive and has written an overview that sidered a majorpartner in artistic endeavors with Ed­ places Modotti's letters in historical context. Her schol­ ward Weston, particularly during their years together arly research and writing provide new insights into in Mexico. They shared aesthetic goals in the produc­ Modotti's life. We are grateful for her contribution. tion of their photographs, and they approached the We also wish to thank Dr. Amy Conger for her events oflife with the same passion. The intimacy of assistance in reviewing Amy Stark's essay and provid­ this artistic symbiosis is well recorded on Weston's ing additional insight into the Edward Weston Archive part through his published daybooks. With this issue through her dissertation and comments. As a guest of The Archi11e, Modotti's own letters record with scholar at the Center, Dr. Conger is writing an illus­ great emotion her perspective on their relationship trated catalog of Weston photographs for future pub­ and briefglimpses ofher life after 1926 when Weston lication by the Center. 3 >� .........,, �- G ,..�.,�r JJ. 4-� � • ' Page from T.ma Modotti s letter to Edward Weston' 4 June 1927 THE LETTERS FROM TINA MODOTTI TO EDWARD WESTON AMY STARK by Edward Weston: Tina Modotti in window of house in Tacubaya, Mexico City, 1923 Courtesy, The Bancroft Library, University of California, Berkeley Introduction THE YEARS THEY WERE TOGETHER NUMBER LESS THAN roles; and finally, mature friendship when approval five, yet the love affair and photographic collabora­ was not needed but the sympathetic ear was. tion between Edward Weston and Tina Modotti were It is fair to assume that Modotti did not expect that remarkable enough that their story has been retold her letters would be kept. Seeing her letters not as many times over the years. As the details blur with documents but as instruments of connection to a cher­ time, the story easily fits into mythic and romantic ished friend, she sent them as they came from her formulations. The great photographer and the great pen, full of misspellings and ink blots. What her let­ beauty meet and are irresistibly attracted. They move ters lacked in polish, they made up for in emotional to exotic Mexico. Weston's eye moves hungrily over immediacy. Modotti wrote as she spoke, we suspect, the face and body of his lover as he photographs her and it is her unadorned personality that lives in her again and again. Modotti receives her photographic letters sixty years later and still has the warmth and education at his hands and begins her political involve­ cadence of a voice that can move us. ment at the same time. The great photographer ex­ The special talent of letters is their ability to speak hausts the inventory of what he can learn from Mex­ directly from the heart. A sequence of photographs ico and Modotti, and returnsto California. The great of Modotti from 1922 to 1931 would show us only beauty becomes a serious photographer too and ful­ her face as it has been shaped by health, nature, and fills a destiny punctuated by political exile and a the photographer's art. Experiences are written on mysterious death. the human face, but often the lines of defeat or the The witnesses to the lives of Modotti and Weston tightness of cynicism we see on a face prevent us are now dwindling, and with their going, a certain from noting the real face below. Letters can reveal lingering reverberation of the living personalities of this other face. Modotti's letters tell us what words Edward and Tina is lost. We arc left with the evi­1 she never used and which ones she preferred, what dence of photographs and letters, diaries and cameras. she was moved to speak of and what she would not How should we approach these doorways to the past mention. They are richly suggestive precisely because What can we find for keys to unlock them? Will we they arc not particular images, but rather, the inexhaust­ be able to use what we see beyond them to give proof ible composites of abstract associations of thought. and dimension to lives obscured by fame? We must keep in mind the "gulf between the self In the personal papers of Edward Weston that were which experiences and the self which describes ex­ acquired by the Center in 1981, among the five linear perience" as we read these letters, however.' The un­ feet of correspondence, were found thirty-one letters bridgeable expanse between Modotti as a participant plus fragments of letters and notes from Tina Mo­ in events and as the creator of written descriptions of dotti. They span the years 1922 to 1931 and thereby these events is mirrored in us as spectators who seek encompass all stages of their relationship-awaken­ to recreate her mind by reading her letters. We are ing passion; more fully realized teacher/lover/student guaranteed a certain degree of failure. 7 Our interest in these letters can followmany direc­ targeted for publication, every attempt was made to tions.Modotti's writing on photography, politics, lit­ date them, to find the enclosures and photographic erature, feminism, and philosophy offer opportunities prints that had been mailed with them.This detective for study. To some researchers, the hope of under­ work often involved matching inks, fold-lines, and standing the puzzles and contradictions of Modotti's types of paper as well as referring to the daybooks relationship to Edward Weston may be the most in­ and other correspondence to establish at least the triguing challenge. Emotional and creative partner­ boundaries of tentative dates. The letters were retyped ships like Weston and Modotti's are rare enough that for legibility and conciseness, and Modotti's spelling it is naturalParallel toLives, want to understand what made it and punctuation slightly edited for consistency. Draw­ work. As the historian Phyllis Rose has said in her ing from the other correspondence in the Weston ar­ book chive and from the pages of his daybooks, we offer notes to the letters, an index, and chronologies to Marriages ... hold a particular fascination for clarify, elaborate, or suggest identification of people, the biographer-critic because they set two imag­ places, and events in the letters. We have avoided inations to work constructing narratives about parallel, rigid interpretations. experience presumed to be the same for both. The letters from Tina Modotti to Edward Weston In using the word however,2 I hope to published here have been quoted from previously, call attention to the gap between the narrative but they have never been available to researchers in lines as well as to their similarity. unabridged formor in the proper chronology.' These It is amazing good fortune to have even thirty­ letters can be seen in their original, handwritten form one letters survive. Henry James destroyed forty years by the researcher who visits the Center and who un­ worth of his correspondence and Charles Dickens questionably will extract even more information from burned the letters of twenty years.
Load more

Recommended publications
  • THE ANN ARBOR REGISTE Xix
    THE ANN ARBOR REGISTE xix. NO. ANIS ARBOR, MICHIGAN, THURSDAY, AUGUST 24, 1893. WHOLE M). 974 DOINGS OF THE COUNCIL. Seriously Burned. Laboring Women In Chicago. Hard Times and Tbe Railroad. Oscar Schmid met with a serious Some one has been kind enough to What is the matter with the rail- send THE REGISTER a copy of the bi- roads? is a question one frequently ,D8 OF EIGHT DIFFERENT TILE accided at Jackson last week. Mr. Schmid is chemist in the works of the ennial report of the state bureau of hears asked. The New York Central H1KIIFACTIIREB§ OPENED. A FEARFUL SLAUGHTER Weeks Drug and Chemical Co. Accord- labor statistics of Illinois. We find and other eastern roads have been some statements in the work that can- limiting the number of trains, reduc- T11(. HMl of the Ohio Valley rire Clny ing to his explanation the accident Co. Accepted—The Main Sewer to be occurred in this way: A boy in the not fail to be of interest to women, we ing their working forces and the scale In Constructed Voder Supervision of laboratory was pouring some sort of mean those who desire to earn their of wages of the remaining help from the Board of Public Works—Messrs. own living and not expect their pa- 10 to 30 per cent. THE REGISTER put Bale and Green address tbe Council chemical or acid from one vessel into another and spilled a small quantity rents to do it forever. The statistics the question to a railroad official on tbe Water Works Quest on, etc relating to the wages of women were yesterday.
    [Show full text]
  • Finding Aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154
    Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Lola Alvarez Bravo Archive, 1901-1994 AG 154 Finding aid updated by Meghan Jordan, June 2016 AG 154: Lola Alvarez Bravo Archive, 1901-1994 - page 2 Lola Alvarez Bravo Archive, 1901-1994 AG 154 Creator Bravo, Lola Alvarez Abstract Photographic materials (1920s-1989) of the Mexican photographer Lola Alvarez Bravo (1903 [sometimes birth date is recorded as 1907] -1993). Includes extensive files of negatives from throughout her career. A small amount of biographical materials, clippings, and publications (1901-1994) are included. The collection has been fully processed. A complete inventory is available. Quantity/ Extent 32 linear feet Language of Materials Spanish English Biographical Note Lola Álvarez Bravo was born Dolores Martínez de Anda in 1903 in Lagos de Moreno, a small city in Jalisco on Mexico's Pacific coast. She moved to Mexico City as a young child, after her mother left the family under mysterious circumstances. Her father died when she was a young teenager, and she was then sent to live with the family of her half brother. It was here that she met the young Manuel Alvarez Bravo, a neighbor. They married in 1925 and moved to Oaxaca where Manuel was an accountant for the federal government. Manuel had taken up photography as an adolescent; he taught Lola and they took pictures together in Oaxaca. Manuel also taught Lola how to develop film and make prints in the darkroom.
    [Show full text]
  • Brett Weston June 2020
    #51 June 2020 Cameraderie Brett Weston (1911-1993) Brett Weston and his father, Edward Weston I started this series on great photographers in October 2012 with Edward Weston, the photographer with whom I was then, and now, most impressed. Now, for the beginning of the second set of 50 articles—an anniversary of sorts—I am turning to his son, Brett Weston. Please have a look at his Wikipedia article here: https://en.wikipedia.org/wiki/Brett_Weston From the Wikipedia article: [Brett] Weston began taking photographs in 1925, …. He began showing his photographs with Edward Weston in 1927, was featured at the international exhibition at Film und Foto in Germany at age 17, and mounted his first one-man museum retrospective at age 21 at the De Young Museum in San Francisco in January, 1932. Brett Weston was credited by photography historian Beaumont Newhall as the first photographer to make negative space the subject of a photograph. I am impressed by the younger Weston’s extraordinary versatility in his photography, possibly more so than his father—a difficult decision for me. In the sample images below, I am trying to show that versatility. Street Corner, New York 1944 I am charmed by these two extremely formal compositions. Nude in Pool [1979-1982] Dunes Weston apparently saw similarities between nudes and dunes, and exhibited them together. This is Weston’s famous broken glass image, said by one critic to be the first photograph ever to capture “negative space.” Edward Weston by Brett Weston Manuel Hernández Galván by Edward Weston, 1924 Do you have any doubt that Brett Weston shot this image of his father in the style of his father’s famous shot of General Galván? .
    [Show full text]
  • Transforming Practices
    Transforming Practices: Imogen Cunningham’s Botanical Studies of the 1920s Caroline Marsh Spring Semester 2014 Dr. Juliet Bellow, Art History University Honors in Art History Imogen Cunningham worked for decades as a professional photographer, creating predominantly portraits and botanical studies. In 1932, she joined the influential Group f.64, a group of West Coast photographers who worked to pioneer the concept of “Straight Photography,” a movement that emphasized the use of sharp focus and high contrast. Members of Group f.64 included Ansel Adams and Edward Weston, whose works have since overshadowed other photographers in the group. Cunningham has been marginalized in histories of Group f.64, and in the history of photography in general, despite evidence of her development of many important photographic practices during her lifetime. This paper builds on scholarship about Group f.64, using biographical information and analysis of her photographs, to argue that Cunningham influenced more of the ideas in the group than has been recognized, especially in her focus on the simplification of form and the creation of compelling compositions. Focusing on her botanical studies, I show that many of the ideas of f.64 existed in her oeuvre before the formal creation of the group. Analysis of her participation in the group reveals her contribution to developments in art photography in that period, and shows that her gender played a key role in historical accounts that downplay her significant contributions to f.64. Marsh 2 Imogen Cunningham became well known in her lifetime as an independent and energetic photographer from the West Coast, whose personality defined her more than the photographs she created or her contribution to the developing straight photography movement in California.
    [Show full text]
  • Revised Rules & Guidelines!
    REVISED RULES & GUIDELINES! th 5 Annual “Stand in Ansel Adams Footsteps” Juried Competition & Exhibition at The Hudgens Center for Art and Learning The Gwinnett Chapter, Georgia Nature Photographers Association is once again hosting our very successful “Stand in Ansel Adams Footsteps”. This annual competition began as our humble way to pay tribute to the legendry Ansel Adams. It has grown each year with not only more participating photographers, but with the tremendous quality and quantity of the work submitted. BIG IMPROVEMENTS THIS YEAR! This year we are taking it up a Notch! The 5th Annual “Stand in Ansel Adams Footsteps” photographic competition will now for the first time have a 10-week exhibition at The Hudgens Center for Art and Learning. This is to provide recognition to our GNPA members who with their excellent creative work through their effort and skill continue to create wonderful works of art. The exhibit will run from February 15 until April 25, 2020 in The Hudgens Center for Art and Learning, Georgia Galley. What is The Hudgens Center for Art and Learning? Founded over 35 years ago, as the Gwinnett Council for the Arts. Renamed in 2016 as The Hudgens Center for Art and Learning it is a non-profit dedicated to bringing art lovers, leaders, and learners together through quality programs and exhibits. Situated at the south end of the Infinite Energy Center campus with annually more than 13,000 visitors. Presently, the entire Infinite Energy Center campus is undergoing major changes and enhancements. The coveted Hudgens Prize, a $50,000 cash award is one of the largest cash awards given to an individual artist in the entire nation.
    [Show full text]
  • Post-Visualization Jerry N. Uelsmann 1967
    Post-Visualization Edward Weston, in his efforts to find a language suitable and indigenous to his own life and time, developed a method of working which today we refer to as pre-visualization. Jerry N. Uelsmann 1967 Weston, in his daybooks, writes, the finished print is pre-visioned complete in every detail of texture, movement, proportion, before exposure-the shutter’s release automatically and finally fixes my conception, allowing no after manipulation. It is Weston the master craftsman, not Weston the visionary, that performs the darkroom ritual. The distinctively different documentary’ approach exemplified by the work of Walker Evans and thedecisive moment approach of Henri Cartier Bresson have in common with Weston’s approach their emphasis on the discipline of seeing and their acceptance of a prescribed darkroom ritual. These established, perhaps classic traditions are now an important part of the photographic heritage that we all share. For the moment let us consider experimentation in photography. Although I do not pretend to be a historian, it appears to me that there have been three major waves of open experimentation in photography; the first following the public announcement of the Daguerreotype process in 1839; the second right after the turn of the century under the general guidance of Alfred Stieglitz and the loosely knit Photo-Secession group; and the third in the late twenties and thirties under the influence of Moholy-Nagy and the Bauhaus. In each instance there was an initial outburst of enthusiasm, excitement and aliveness. The medium was viewed as something new and fresh possibilities were explored and unanticipated directions were taken.
    [Show full text]
  • Angelina Beloff Como Misionera Cultural: Una Revalorización De Su Arte»
    GUERRERO OLAVARRIETA, Ana Paula (2017). «Angelina Beloff como misionera cultural: una revalorización de su arte». Monograma. Revista Iberoamericana de Cultura y Pensamiento, n. 1, pp. 177-193. URL: http://revistamonograma.com/index.php/mngrm/article/view/12 FECHA DE RECEPCIÓN: 17/10/2017 · FECHA DE ACEPTACIÓN: 7/11/2017 ISSN: 2603-5839 Angelina Beloff como misionera cultural: una revalorización de su arte Ana Paula GUERRERO OLAVARRIETA Universidad Iberoamericana, Ciudad de México [email protected] Resumen: ¿Por qué estudiar a Angelina Beloff? ¿Qué relación tiene con el contexto mexicano? Los estudios que hay acerca de Angelina Beloff se han centrado bajo la sombra de Diego Rivera, con quien tuvo una relación de diez años. Por consiguiente, la investigación está encaminada a tener un acercamiento más crítico a su obra y a su desempeño laboral en Europa y en México del siglo XX. La presente investigación busca rescatar a Beloff dentro del contexto de los artistas mexicanos de la época. Sin hacer un recuento biográfico, toma como referencia diversos textos que la mencionan, para sustentar y debatir junto con los que han excluido la figura de Beloff dentro de la historiografía mexicana. Asimismo explica por qué es relevante estudiar a esta artista extranjera que decidió vivir en nuestro país junto con otras figuras del medio artístico contemporáneo. Palabras clave: Angelina Beloff, extranjera, arte mexicano, exclusión, historiografía. Abstract: Why study Angelina Beloff? What relationship does she has with the Mexican context? Studies about Angelina Beloff have been centered under Diego Rivera's shadow, with whom she had a relationship for ten years. Therefore, the investigation is driven to have a more critical close up to her art work and her job performance in Europe and Mexico during the Twentieth Century.
    [Show full text]
  • The Tanforan Memorial Project: How Art and History Intersected
    THE TANFORAN MEMORIAL PROJECT: HOW ART AND HISTORY INTERSECTED A Thesis submitted to the faculty of San Francisco State University AS In partial fulfillment of 5 0 the requirements for the Degree AOR- • 033 Master of Arts in Humanities by Richard J. Oba San Francisco, California Fall Term 2017 Copyright by Richard J. Oba 2017 CERTIFICATION OF APPROVAL I certify that I have read “The Tanforan Memorial Project: How Art and History Intersected” by Richard J. Oba, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Humanities at San Francisco State University. I Saul Steier, Associate Professor, Humanities “The Tanforan Memorial Project: How Art and History Intersected” Richard J. Oba San Francisco 2017 ABSTRACT Many Japanese Americans realize that their incarceration during WWII was unjust and patently unconstitutional. But many other American citizens are often unfamiliar with this dark chapter of American history. The work of great visual artists like Ansel Adams, Dorothea Lange, Chiura Obata, Mine Okubo, and others, who bore witness to these events convey their horror with great immediacy and human compassion. Their work allows the American society to visualize how the Japanese Americans were denied their constitutional rights in the name of national security. Without their visual images, the chronicling of this historical event would have faded into obscurity. I certify that the Abstract is a correct representation of the content of this Thesis ACKNOWLEDGEMENT I wish to acknowledge the support and love of my wife, Sidney Suzanne Pucek, May 16, 1948- October 16, 2016.
    [Show full text]
  • Carmel Pine Cone, February 12, 2021
    New pros, old-timers, First Tee upstarts, Pebble watch-at-home Beach goodies and more ... AT&T PRO-AM 2021 inside this week! VolumeThe 107 No. 7 Carmelwww.carmelpinecone.com Pine ConeFebruary 12-18, 2021 T RUS T ED BYLOCALSANDLOVEDBYVISI T O RSSINCE 1 9 1 5 Moreno, vaccine rollout debated during ‘State of City’ n Adams: Hard to keep up rollout, she said, “I hear so many peo- ple say Dr. Moreno is not the great- with constituent calls est communicator. Dr. Moreno is the most shy person I have ever met, and By MARY SCHLEY this is agony for him to have to speak publicly. He also is very conscious of WHILE THE Carmel Chamber giving precise and correct answers.” of Commerce’s State of the City pre- Unmentioned during the call was sentations Friday might have intended the fact that Moreno’s job description to focus on city issues, it was Mon- requires him to be able to “prepare terey County 5th District Supervisor clear and concise written and oral re- Mary Adams’ comments that had ports,” and “speak effectively before PHOTOS/MICHAEL TROUTMAN, DMT IMAGING some viewers spitting out their coffee. large groups.” In her presentation, Adams men- Clockwise from left: CBS Sports broadcaster Jim Nantz, just days tioned some issues facing the coun- Bad names after calling the Super Bowl in Tampa, Fla., was the announcer for ty, such as $600 million in deferred MacMurdo urged Adams to “get an “Every Shot Counts” charity event on Wednesday, with celebri- maintenance on county roads and ties like Kathryn Newton (“Big Little Lies”), Larry Fitzgerald and Bill back to your constituents, and get Murray.
    [Show full text]
  • The History of Photography: the Research Library of the Mack Lee
    THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography.
    [Show full text]
  • Edward Weston Periodical Collection: Finding Aid
    http://oac.cdlib.org/findaid/ark:/13030/c8154ng6 No online items Edward Weston periodical collection: Finding Aid Finding aid prepared by Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Rare Books Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2015 The Huntington Library. All rights reserved. Edward Weston periodical 645289 1 collection: Finding Aid Overview of the Collection Title: Edward Weston periodical collection Dates (inclusive): 1930-1980 Bulk dates: 1950-1980 Collection Number: 645289 Creator: Waltman, Jack, collector.Waltman, Beverly, collector. Extent: 55 items in 3 boxes. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Rare Books Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains fifty-five magazines, exhibition catalogs, brochures, and other printed material related to the career and life of Edward Weston (1886-1958), a pioneering 20th-century American photographer known for his exploration of form in landscapes, still lifes, and nudes. The collection includes published writings by and about Weston; publications containing his photographs; exhibition catalogs and brochures that feature his work and his contemporaries; as well as later tributes and articles about the photographer. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities.
    [Show full text]
  • The Photographs of Edward Weston [By] Nancy Newhall
    The photographs of Edward Weston [by] Nancy Newhall Author Weston, Edward, 1886-1958 Date 1946 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2374 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art " __ - LIBRAHY THE MUSEUSVf OF MODERN ART Received: ! MCHW£ EDWARD WESTON THE PHOTOGRAPHSOF PORTRAIT OF EDWARD WESTON BY ANSEL ADAMS, 1945 EDWARD WESTON NANCY NEWH THE MUSEUM OF MODERN ART ACKNOWLEDGMENTS I wish especially to thank Edward Weston for the many months of work and the understanding collabora tion, maintained across a continent, which he has contributed to every stage of this book and the exhibition it accompanies. To Beaumont Newhall, for his invaluable aid in preparing the text and the bibliography, to Charis Wilson Weston, to whose writings and suggestions I am much indebted, and to Jean Chariot for permission to quote from his manuscript, I am particularly grateful. I wish also to thank Mrs. Gladys C. Bolt, Mrs. Gladys Bronson Hart, Mrs. Rae Davis Knight, Mrs. Mary Weston Seaman and Mrs. Flora Chandler Weston for lending the chloride, platinum, and palladio prints which represent Weston's earliest work. Nancy Newhall TRUSTEESOF THE MUSEUM OF MODERN ART Stephen C. Clark, Chairman of the Board; Henry Allen Moe, 1st Vice-Chairman; Sam A. Lewisohn, 2nd Vice- chairman; John Hay Whitney, President; Nelson A. Rockefeller, 1st Vice-President; John E. Abbott, Executive Vice-President; Ranald H.
    [Show full text]