Edward Weston: The Flame of Recognition - Hardcover

It comes as quite a shock to see pictures that aspire so unabashedly to high art, that are so conspicuously beautiful, as Edward Weston's nudes. -The New York Times Connoisseur of the sensual -The New York Times As Edward Weston: Portraits shows, Weston didn't just photograph women, he exposed them. They fill the frame, they spill over it; their bodies are cropped so that discrete parts--legs, feet, and buttocks, the curve of ribs and breast--become the entire subject. It's as though the lens, and the photographer behind it, were touching and caressing them. -Vogue It comes as quite a shock to see pictures that aspire so unabashedly to high art, that are so conspicuously beautiful, as Edward Weston s nudes. "The New York Times" Connoisseur of the sensual "The New York Times" As "Edward Weston: Portraits" shows, Weston didn't just photograph women, he exposed them. They fill the frame, they spill over it; their bodies are cropped so that discrete parts legs, feet, and buttocks, the curve of ribs and breast become the entire subject. It's as though the lens, and the photographer behind it, were touching and caressing them. "Vogue"" "As "Edward Weston: Portraits" shows, Weston didn't just photograph women, he exposed them. They fill the frame, they spill over it; their bodies are cropped so that discrete parts--legs, feet, and buttocks, the curve of ribs and breast--become the entire subject. It's as though the lens, and the photographer behind it, were touching and caressing them."--Michael Boodro, "Vogue" "As "Edward Weston: Portraits shows, Weston didn't just photograph women, he exposed them. They fill the frame, they spill over it; their bodies are cropped so that discrete parts--legs, feet, and buttocks, the curve of ribs and breast--become the entire subject. It's as though the lens, and the photographer behind it, were touching and caressing them."--Michael Boodro, "Vogue

This classic monograph, first issued as a hardcover volume in 1965, began its life in 1958 as a monographic issue of Aperture magazine published in celebration of Weston’s life. Drawing on a decades-long collaboration between the photographer and Nancy Newhall, Aperture cofounder and early MoMA curator, this volume brings together a sequence of images and excerpts from Weston’s writing in an effort to channel the photographer’s spirit of creativity and, in his own words, “present clearly my feeling for life with photographic beauty . . . without subterfuge or evasion in spirit or technique.” Now, fifty years later, Aperture is pleased to present a reissue of this volume, which covers the range of Weston’s greatest works. Accompanying and amplifying the images are Weston’s own thoughts, excerpted from his now-famed Daybooks and letters. Others who contributed to the making of the book include two of the artist’s sons, Brett and Cole, and two other Aperture cofounders: filmmaker and author Dody Weston Thompson and photographer Ansel Adams, whose essay on the jacket offers a posthumous tribute to a remarkable artist and his oeuvre. A brief bibliography as well as a chronology offer further insight into the life and work of this giant of twentieth-century photography.