🎈RARE! Edward WESTON - Charis Wilson, 1936, Old Authentic Drawing Offset Print

Description: Sale!!! Mega RARE! Unique!!! Edward WESTON - Nude/Charis Wilson, 1936 Old Authentic Original Drawing Offset print Beautiful Famous photo!! Size: 14.8 cm x 18.6 cm This is a print run controlled and validated on press by the client that the printer had archived as a color reference model and laminated to a support so that it can be preserved over time. A wonderful testimony to traditional art printing which unfortunately has completely disappeared today. Remarkable print, close to a photograph, brilliant, with beautiful, very dense tones. Its rendering, contrast, its brightness, as well as its sharpness with sharp details, are absolutely magnificent. Print made in 1996 by a former art printer Archival model Printer two-tone printing enhanced with a glossy varnish This previously unpublished Validation Print was found deep in an assembly workshop in the archives of a former art printing house, carefully preserved flat and protected from light. Although it is old with its 27 years of age, it remains in a good state of conservation. Some marks and traces of dirt on the back due to the printer's handling. However, the front is intact, in excellent condition and of extraordinary shine. This old print comes from a first printing limited to a few copies in different tones, the customer selected one that he approved and validated as a “good to print” proof. It was kept by the printer and served as a color model for setting on the machine during reprints. When everything was compliant, the client signed the print which then became contractual, the client's approval committed the printer to obtaining an identical result for all the prints he had to produce. In 1936, Edward Weston, on the threshold of his house in Santa Monica, painted this nude, that of his last companion, Charis Wilson, sitting on the ground, folding her legs, the side of her face on herself. From the top of his arms to his clenched hands, the top of his head turns into ovals, while his legs and the door are angular. He achieves a nude, smooth, earthy and transparent, made of shapes that intermingle between black and light, between shadow and light. The pose is only triangular shapes, he expresses his research in rhythm and symmetry, he loves flesh, sensuality, femininity, light and precision. The colors of the ground and the body can merge, he uses light areas and shadow areas. Charis is slightly shifted to the left, only one foot marks the right. It is a multitude of triangles in very balanced gray colors, with silver borders drawing black bands around the white body. “The device must serve to record life, to render the substance and quintessence of the thing itself, whether it be a piece of polished steel or pulsating flesh. » Edward Weston This nude by Weston is very successful, firstly because we see nothing, no face, no genitals, no chest, but simply a sinuous bust embracing the light, it is a nude “without nudity” and thereby of course terribly more sensual and seductive. His look at everything around him is a look of passion, passion for the women he loves so much, so tumultuously, while declaring his romance with them. He often proceeds by eruptions of images, being in the exaltation of love, of his exaltations following his companions, Bella, Tina, Charis, each of whom changes his deepening of his photographic art. Since meeting his new companion Tina Modotti in 1921 in Los Angeles, Weston gradually changed his photographic vision, abandoning pictorialism in favor of pure photography for precision instead of interpretation. His photos become extraordinarily precise in detail, almost cruelly sharp. The 20's to 40's mark in his work, the most fertile period in pictorial revolutions, he uses in his shots, abstractions, incredible angles, concentrates on fragments rather than on the whole. He notes the power of natural light which can not only convey impressions and emotions but also harmonize the entire composition of an image. Although his reputation as a Pictorialist photographer was internationally recognized, he increasingly realized that he must accept the mechanical properties of the camera and lenses as a strength and not a weakness. For him photography becomes a process for seeing the real world rather than creating an imaginary world. He began to develop a style called “Precisionism”, his photos then became sharp and precise. He is convinced that a camera sees better than the naked eye, he uses it as a magnifying glass to reveal what we do not necessarily see and recreates shapes from reality, he isolates them, sublimates them and shows them from a new angle and a prodigious light. Concerned about a perfect restitution, he even abandons enlargement and opts for contact printing, for photographing it amounts to restoring with maximum sharpness and depth of field, makes use of natural light and uses a technical camera of large format 20 x 25. “The camera sees better than the eye, so why not use it? » Edward Weston His images symbolize the birth of a new style, “straight photography”, by closing the diaphragm of his lens to f/64, an aperture the size of a grain of sand, which allows him to obtain a very sharp photograph from foreground to background. “What is the best use that one can make of the camera, one only has to look at the masterpiece of a sculptor or a painter and one understands that the camera must record life . » Edward Weston Edward Weston (1886-1958) American photographer, born in Highland Park, Illinois. In 1902, he received his first camera from his father for his 16th birthday, a "Kodak Bull's-Eye No. 2", and began taking photographs in Chicago parks and on his aunt's farm, but very He quickly bought a second-hand camera, a 5x7. It is inspired by painting. Weston quickly found success and the Chicago Art Institute exhibited his photographs a year later, in 1903. In 1906, Weston went to California, where he decided to settle down and pursue a career in photography. He married Flora May Chandler in 1909, with whom he had four sons. In 1908 he enrolled at the Illinois College of Photography. In 1911, Weston opened his first photographic studio in Tropico, California and wrote articles for several popular magazines regarding his unconventional methods of portraiture. Until the early 1920s, Weston preferred to use his anachromatic lens, thus part of a “soft focus” trend. A turning point took shape between 1921 and 1922 in his photographic work. He took more and more pleasure in experimenting, looking for abstract patterns, shooting angles and original exposure conditions, photographing fragments of nudes and faces and began to prefer sharpness to anachromatic lenses. of the converging lens. The year 1922 marked a period of transition for Weston, renouncing pictorialism in favor of pure photography. While visiting his sister May in Middletown, Ohio, he took his first industrial photos of the Armco steel mills. It is from this moment that he only takes clear and sharp photographs with great precision “Precision instead of interpretation”. His change in style was decisively reinforced by his meeting with the photographers Alfred Stieglitz, Charles Sheeler and Paul Strand, whom he met that same year in New York. In 1923, Weston left his family and moved with one of his sons and his professional and romantic associate, Tina Modotti, a model, actress and photographer. After several exhibitions of his work in New York, he co-founded the group f/64 in 1932 with Ansel Adams, Willard Van Dyke and others, which became a mecca for a new aesthetic, “straight photography”. f/64 refers to the smallest aperture of a large format camera's diaphragm, it gives the maximum depth of field, making the photograph very sharp from foreground to background. This corresponds to the theory of pure photography that the group adopted in response to the pictorialism which was still in vogue. Most of his work is done using an 8x10 inch camera. Weston established contacts with Mexican intellectuals and artists such as Frida Kahlo and Diego Rivera, whom he photographed numerous times. Besides portraiture, Weston specializes in nudes and still lifes. In 1937 he married his assistant, Charis Wilson, with whom he had shared his life since 1934. That same year the John-Simon-Guggenheim Foundation awarded him a scholarship, the first given to a photographer. Stricken with Parkinson's disease, Weston took his last photographs at the Point Lobos State Reserve in 1948. “The image exists as soon as the photographer presses the click. » Edward Weston Sale as is, no return. Also please a look my sales list thanks a lot to the following photographers Edward Weston Daido Moriyama Araki Josef Koudelka Saul Leiter Ray K Metzker Paolo Roversi Helmut Newton, Henri Cartier-Bresson Ernst Haas Harry Gruyaert Annie Leibovitz Peter Lindbergh Guy Bourdin Richard Avedon Herb Ritts, Ellen Von Unwerth Comme des Garçons Rei Kawakubo Irving Penn, Bruce Weber, Edward Steichen, George Hoyningen-Huene, Hiro, Erwin Blumenfeld Bruce Weber, Alex Webb Robert Frank Issey Miyake Robert Doisneau Steve Hiett Gueorgui Pinkhassov Andy Warhol Yayoi Kusama Magnum photos Harry Callahan Andre Kertesz Elliott Erwitt Bruce Davidson Guy Bourdin Steven Meisel,

Price: 845 USD

Location: New York, New York

End Time: 2024-11-12T22:58:31.000Z

Shipping Cost: 18 USD