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Dónde cuelga la obra maestra y cuándo le dejan pasar.

Colecciones: Galería Nacional de Arte, Galería Nacional de Dinamarca, Galería Nacional de Retratos, Galería Tretiakov, Harvard Art Museums, Instituto de Arte de Chicago, Instituto de Artes de Mineápolis, MoMA, Museo de Arte de Cleveland, Museo de Victoria y Alberto, Museo del Hermitage, Museo del Louvre, Museo Estatal Ruso, Museo Hirshhorn y Jardín de Esculturas, Museo J. Paul Getty, Museo Metropolitano de Arte, Museo Pushkin, Museo Smithsoniano de Arte Americano, Museo Whitney de Arte Estadounidense, National Museum of Asian Art, Rijksmuseum, Villa Getty, Catálogo Estatal del Fondo Museístico de Rusia (274 museos), Europeana (19 museos), Wikidata (6 museos), Paris Musées (12 museos) y Joconde, la base de museos del Ministerio de Cultura de Francia (495 museos). Las imágenes pertenecen a sus titulares de derechos.

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Tina, Edward Weston, January 30, 1924
Edward Weston, retratoEdward WestonEstados Unidos, 1886–1958

Tina

January 30, 1924 · Photograph

¿Se puede contemplar?

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MoMA

Nueva York, Estados Unidos

Pertenece a la colección, pero ahora mismo no está expuesta.

Comprobado
hace 9 días
Fuente
El museo
En el mapaPágina del museo

Ficha

January 30, 1924 · a los 38 años
18861958
Número de inventario
1906.2001

En el catálogo

FotografíaGelatina de plataModernismoSiglo XX

Fuentes

  • MoMA
  • Imagen: MoMA — © the artist or rights holder

Mientras tanto, en la vida de Edward Weston

La vida entera
  1. October – November 1922

    New York: meeting Stieglitz

    New York is the cultural centre of art photography and Alfred Stieglitz its most influential figure; Weston lacks the money for the trip, but his brother-in-law gives him enough to continue from Middletown. He spends most of October and early November in the city, where he meets the artist Charles Sheeler, the photographers Clarence H. White and Gertrude Käsebier, and Stieglitz himself, who tells him that his work and attitude reassure him.

  2. 30 July – 11 August 1923

    Sails for Mexico with Modotti and his son

    On 30 July a steamer takes Weston, his son Chandler and Modotti on the extended trip to Mexico; his wife Flora and their other three sons wave goodbye from the dock, and Flora is reported to have called out to Modotti to take good care of her boys. They arrive in Mexico City on 11 August and rent a large hacienda outside the city.

  3. 17 October 1923

    Exhibition at the Aztec Land Gallery

    The exhibition, arranged within a month of his arrival, opens on 17 October to glowing press reviews; he is particularly proud of Marius de Zayas’s review saying that photography is beginning to be photography, for until now it has only been art.

  4. 1923–1924

    Mexico changes the way he sees things

    The different culture and scenery force him to look at things in new ways: he becomes more responsive to what is in front of him and photographs everyday objects such as toys, doorways and bathroom fixtures, as well as intimate nudes and portraits of Modotti, and writes in his Daybooks that the approach to photography is through realism. A second exhibition at the Aztec Land Gallery follows in 1924, and a steady stream of local socialites asks him for portraits.

  5. August 1925

    Back in Mexico: a joint show with Modotti

    His new relationship with Lerner does not last long, and in August he returns to Mexico, this time with his son Brett; Modotti has arranged a joint show of their photographs, and it opens the week he arrives. He receives new critical acclaim, and six of his prints are purchased for the State Museum.

  6. late 1926

    Break with Modotti and return to California

    By the time they return from the trip, Weston and Modotti’s relationship has crumbled, and within less than two weeks he and Brett go back to California. He never travels to Mexico again.

Más obras de Edward Weston

Todas las obras
Shell, Edward Weston, 1927

Shell

1927 · MoMA

Cypress Root and Succulents, Point Lobos, Edward Weston, 1930

Cypress Root and Succulents, Point Lobos

1930 · MoMA

Guadalupe, Mexico, Edward Weston, 1924

Guadalupe, Mexico

1924 · Instituto de Artes de Mineápolis

Violet Romer. (reaching for tall reed, wearing fairy costume), Edward Weston, c. 1917

Violet Romer. (reaching for tall reed, wearing fairy costume)

c. 1917 · No expuesta · MoMA

Violet Romer, Edward Weston, c. 1917

Violet Romer

c. 1917 · No expuesta · MoMA

Violet Romer, Edward Weston, c. 1917

Violet Romer

c. 1917 · No expuesta · MoMA

Violet Romer, Edward Weston, c. 1917

Violet Romer

c. 1917 · No expuesta · MoMA

Violet Romer, Edward Weston, c. 1917

Violet Romer

c. 1917 · No expuesta · MoMA

Bajo el mismo techo: MoMA

Página del museo
Rock, Bakers Beach, San Francisco, California, Ansel Adams, c. 1931

Ansel Adams

Rock, Bakers Beach, San Francisco, California, c. 1931

The Olive Trees, Vincent van Gogh, Saint Rémy, June-July 1889

Vincent van Gogh

The Olive Trees, Saint Rémy, June-July 1889

The Starry Night, Vincent van Gogh, Saint Rémy, June 1889

Vincent van Gogh

La noche estrellada, Saint Rémy, June 1889

Goat Skull and Bottle, Pablo Picasso, Vallauris, 1951 (cast 1954)

Pablo Picasso

Goat Skull and Bottle, Vallauris, 1951 (cast 1954)

She-Goat, Pablo Picasso, Vallauris, 1950 (cast 1952)

Pablo Picasso

She-Goat, Vallauris, 1950 (cast 1952)

Face in Profile (plate, page 21) from Corps perdu, Pablo Picasso, 1949, published 1950

Pablo Picasso

Face in Profile (plate, page 21) from Corps perdu, 1949, published 1950

Coupling (plate, page 17) from Corps perdu, Pablo Picasso, 1949, published 1950

Pablo Picasso

Coupling (plate, page 17) from Corps perdu, 1949, published 1950

"Présence" (chapter title, page 13) from Corps perdu, Pablo Picasso, 1949, published 1950

Pablo Picasso

"Présence" (chapter title, page 13) from Corps perdu, 1949, published 1950