Brett Weston (1911-1993)
Brett Weston, a wunderkind of photography, seemed destined from birth to become one of our greatest American photographic artists. In 1925, at age thirteen, Brett Weston escaped school forever and joined his father, the great photographer Edward Weston, in Mexico. Under his father’s tutelage he learned how to make photographs, and was soon recognized as a prodigy. Surrounded by revolutionary artists of the day, such as Tina Modotti, Frida Kahlo and Diego Rivera, and influenced as well by the striking contrast of life in Mexico, Brett began making photographs with a small Graflex camera.
The introduction to modern from painters Rivera and Jose Clemente Orozco unquestionably influenced Weston’s sense of form and composition. His earliest images show an appreciation for the transformative quality of the camera and a mature recognition of design and abstraction, both organic and man-made. These characteristics would identify Weston’s work throughout his almost seventy-year career.
Returning to California in 1926, Waston continued to assist his father in his Glendale portrait studio while exhibiting and selling his own photographs. . In 1929, when he was seventeen, Weston became one of the world’s heralded photographers when several of his prints were included in the seminal German exhibition Film und Foto, considered one of the most important avant-garde exhibitions held between the two World Wars.
What followed was over five decades of prolific production, exhibition and publication, a life singularly devoted to an everyday practice of lyrical and sensuous large-format photography. Weston’s work tirelessly pursues fundamental themes: the intercourse of light and shade on sand, trees, rocks, water, and walls. He found inspiration in the deserts and coasts of California and Mexico, in the streets of New York and San Francisco, in the mountains of Alaska and the Sierras, in the vegetation of Hawaii, and across the towns and villages of Europe. Weston saw the world graphically, in terms of pattern, and over all his periods and all his subjects the quality of his black and white printing is considered unsurpassed.
Steven Kasher Gallery, New York
G. Gibson Gallery, Seattle, USA
Museum of Fine Arts, Boston, USA
Center for Creative Photography, Tucson, USA
Galerie Stephen Hoffman, Munchen, Germany
Oklahoma City Museum of Art, Oklahoma City, USA
Weston Gallery, Carmel, USA
Scott Nichols Gallery, San Francisco, USA
Halsted Gallery, Bloomfield-Hilils, USA
The J. Paul Getty Museum, Los Angeles, USA
Robert Koch Gallery, San Francisco, USA