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Edward Weston: The Flame of Recognition 
 
  
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Product Details 
  
 
Paperback 
104 pages 
Aperture 
Published 1993 
  
Review 
  
"This monograph does honor to one of photography's key influences and honors photography itself in sparing no pains to achieve reproduction quality that rivals the original print. This level of excellence is a rare occurrence in the reproduction of photographs in American publications. Aside from the beauty and brilliance of the letterpress reproductions, this book offers the reader, collector and student of photography, an extraordinary opportunity to study a representative body of Weston's life-work in the perspective of an extensive and illuminating collection of his photographs."--The New York Times "It is a measure of Edward Weston's greatness that he--it seems to me more than any other photographer of his time--escaped the confinement of photographic categories and movements and theories (even his own theories), and produced a body of work for which there was no explanation. . . . Weston's real aesthetic philosophy was a simple and functional one: he photographed clearly what he saw life to be. What he saw made him a nature poet, a transformer of commonplaces into wonders, a fantasist, and a discoverer of seminal form."--John Szarkowski, former Director, Dept. of Photography, Museum of Modern Art "Working so directly and clearly with his 8x10 camera, Edward Weston has given us a unique beauty which we have no more today."--Alfred Eisenstaedt  
  
 
  
Book Description 
  
In the years since Edward Weston passed away in Carmel, California, he remains in memory as a man of great spirit, integrity, and power. To me he was a profound artist and friend in the deepest sense of the word. Living, as I do now, within a mile of his last home, sensing the same scents of the sea and the pine forests, the grayness of the same fogs, the glory of the same triumphal storms, and the ageless presence of the Point Lobos stone, I find it very difficult to realize he is no longer with us in actuality. Edward understood thoughts and concepts which dwell on simple mystical levels. His work--direct and honest as it is--leaped from a deep intuition and belief in forces beyond the apparent and the factual. He accepted these forces as completely real and part of the total world of man and nature, only a small portion of which most of us experience directly. As with any great artist or imaginative scientist, the concept is immediate and clear, but the "working out" takes time, effort, and conscious evaluations. Edward Weston's work stood for him as a complete statement of the man and his art. He favored the grand sweep of creative projects. He was aware of the loneliness of the artist, especially the artist in photography, photography where out of the uncounted thousands of photographers only a handful of workers support the best photojournalism, illustration, documentation, and poetic expression. And it was Weston who accomplished more than anyone, with the possible exception of Alfred Stieglit, to elevate photography to the status of fine-art expression. His approach bypassed the vast currents of pictorial photography, photojournalism, scientific-technical photography, and what is generally lumped together as "professional photography" (portraits of the usual "studio" kind, illustrations, and advertising). Through his kind of photography he opened up wonderful world of seeing an doing. Many were the students and experts whose lives and concepts were profoundly modified by Edward's non-aggressive, non-preaching, but ever-comprehending approach. "Seeing" the Point Lobos Rocks was one thing, making wondrous pictures of them another thing, but encouraging another person to "see" something in his own way was the most important thing of all. Edward's works need no evaluation here. I would prefer to join Edward in avoiding verbal or written explanations and definitions of creative work. Who can talk or write about the Bach Partitas? You just play them or listen to them. They exist only in the world of music. Likewise, Edward's photographs exist only as original prints, or, as in this Aperture monograph, in superb reproductions. Look at his photographs,
 
  
 
  

This photographer...

 
  
Les Chats: Photographies Et Poemes 
  
De They; Brassai (Photographer); Willy Ronis (Photographer); Alessandra Scarpa; & Bibliotheque de L'Image
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Edward Weston (TASCHEN Icons Series) 
  
Manfred Heiting (Editor)
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Tina Modotti & Edward Weston: The Mexico Years 
  
Sarah Lowe (Editor)
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Edward Weston: His Life 
  
Ben Maddow
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Edward Weston: Forms of Passion 
  
Gilles Mora
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Edward Weston: A Legacy 
  
Jonathan Spaulding; Jessica Todd Smith; & Jennifer A. Watts
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Edward Weston: The Last Years in Carmel 
  
David Travis; James N. Wood; & Edward Weston (Photographer)
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The Artificial of the Real: Trcka - Weston - Newton 
  
Anton Josef Trcka; Edward Weston; & Helmut Newton
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Margrethe Mather and Edward Weston: A Passionate Collaboration 
  
Beth Gates Warren; & Karen Sinsheimer (Introduction)
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Edward Weston (Masters of Photography Series) 
  
Edward Weston; & Richard H. Cravens
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Portraits: Edward Weston 
  
Edward Weston; & Susan Morgan (Contributor)
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Portraits: Edward Weston 
  
Edward Weston; & Susan Morgan (Creator)
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The Daybooks of Edward Weston 
  
Edward Weston; Beaumont Newhall (Editor); & Nancy Newhall (Editor)
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Edward Weston: The Flame of Recognition 
  
Edward Weston; Nancy Newhall (Editor); & Ansel Adams (Contributor)
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Edward Weston: 1886-1958 
  
Edward Weston; Terence Pitts; & Ansel Adams
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Edward Weston Nudes 
  
Edward Weston; & Charis Wilson (Contributor)
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Edward Weston's Book of Nudes 
  
Edward Weston (Photographer); & Nancy Newhall (Author)
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Dune: Edward and Brett Weston 
  
Edward Weston (Photographer); Brett Weston (Photographer); Kurt Markus; & John Woods
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Through Another Lens: My Years With Edward Weston 
  
Charis Wilson; & Wendy Madar
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Through Another Lens: My Years With Edward Weston 
  
Charis Wilson; & Wendy Madar (Contributor)
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