Weston's sensual and sexual energy can be seen in over one hundred nude female studies made between 1918 and 1945. Unlike Stieglitz, Weston's approach was less romantic and more modern, not commemorating an individual but gazing at the female body with a coolness that eluded him in his private life. Weston's photographs acknowledge the beauty of the female body, and he later makes this appeal eternal by linking it with other organic life forms.
