Edward Weston美国, 1886–1958Cloud, Mexico
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《Cloud, Mexico》现在在哪里？ 收藏方: J·保羅·蓋蒂博物館, 洛杉矶. 目前未展出. 核实 2026年10月7日.
洛杉矶, 美國
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- 此状态始于
- 出处
- 博物馆
关于作品
> The first image with artistic intention that Edward Weston made in Mexico was of a cloud. Stopped in the port of Mazatlan on his way to Mexico City in 1923, Weston, for the first time in his career, was moved to photograph the sky, a theme that would occupy him intermittently throughout his entire sojourn in Mexico. Working with his Graflex, which allowed for greater flexibility than his tripod-mounted eight-by-ten-inch camera, he shot clouds spontaneously and maintained a personal collection of prints that he referred to as his “cloud series.” He noted in his daybook, “Next to the recording of a fugitive expression, or revealing the pathology of some human being, is there anything more elusive to capture than cloud forms!
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And the Mexican clouds are so swift and ephemeral, one can hardly allow the thought, 'Is this worth doing?' or, 'ls this placed well?’—for an instant of delay and what was, is not! > > The economy of form achieved in this 1926 image through the isolation of a single strip of stratus clouds oriented diagonally within the frame was not new to Weston's aesthetic; his 1924 picture of Tina Modotti (1896-1942) nude on the roof of their home (see [86.XM.710.8](http://www.getty.edu/art/collection/objects/54962/edward-weston-nude-tina-modotti-american-1924/)) employs a remarkably similar composition. If Mexico provided Weston the inspiration to explore and expand the range of his oeuvre, adding clouds, still lifes, and landscapes to his repertoire of portraits and nudes, it simultaneously served as the place where his visual approach to the world was honed.
His time in Mexico came to an end the same year he made this picture, but many of the principles he developed there would last him throughout his career. > > Brett Abbott. *Edward Weston*, In Focus: Photographs from the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 2005), 48. ©2005, J. Paul Getty Trust.
J·保羅·蓋蒂博物館
作品信息
- 馆藏编号
- 84.XM.229.24
已收入目录
出处
- J·保羅·蓋蒂博物館
- 图片： J·保羅·蓋蒂博物館 — ; In Copyright
Edward Weston当时的生活
完整生平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.
1925
Burns his old journals and begins a new series
The next month he sets up a studio with Johan Hagemeyer; as though trying to erase the past, he burns all of his pre-Mexico journals and starts a new series of nudes with Lerner and with his son Neil, calling these images the start of a new period in his approach to photography.
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.
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.
1927
A major exhibition at the Palace of the Legion of Honor
In September he has a major exhibition at the Palace of the Legion of Honor in San Francisco.
1928
The Mojave Desert: his first landscapes as art
A brief but important trip with Brett to the Mojave Desert, where he first explores and photographs landscape as an art form. The stark rock forms and empty spaces are a visual revelation to him; over a long weekend he takes twenty-seven photographs and declares in his journal that these negatives are the most important he has ever done.
