1922
1923
1925
1924
1925
1926
1927
1929
1930
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March: Exhibition at
the Academia de Bellas Art in Mexico
City, organized by Roubaix Richey.
October: Visits sister May in Middletown, Ohio. Photographs
ARMCO Steel, his first major industrial landscape - first modern
image.
November: Travels to New York to meet photographer Alfred
Stieglitz and has portfolio reviewed. Stieglitz not overly
impressed
with Edward's work, yet confirms modernist direction.
January: Leaves his wife Flora and moves into Tropico studio with
Tina Modotti.
July: Nude series of Margrethe Mather on Redondo Beach.
Photographs from series became Edward's best selling images
in Mexico.
1925 May: Burns all pre-Mexico "Daybooks" Thereby destroying all
records of
his Los Angeles photo career and his association with Margrethe
Mather.
July 29: Departs San Pedro, California docks aboard the
S.S. Colima with Tina Modotti and 12 year old son Chandler
bound for Mexico.
Sets up portrait studio in Tacubaya for a brief period before
settling
into a permanent one in Mexico City.
Accepted by the artists of the Mexican Renaissance. Introduced
by Tina Modotti. Artists include: Diego Rivera, Jean Charlot,
Jose Clemente Orozco, David Alfaro Siqueiros and Xavier Gurrero.
New modernist direction in work includes: unposed portraits,
landscapes and close-up still lives.
Most important series of the period are "heroic heads." Unposed
portraits using the head as a sculptured object. Most occupy
three-quarters of the photographic surface.
Photographs from series:
"Nahui Olin, 1923"
"Guadalupe Marin, 1923"
"Manuel Hernandez Galvan, 1924"
"Tina Reciting Poetry, 1924"
"Rose Roland de Covarrubias, 1926"
October 22 - November 4: First exhibition of work at the Aztec
Land Gallery, Mexico City. Sold 8 prints; 6 are nudes of
Margrethe Mather.
October 15 - 31: Second exhibition of work at the Aztec Land
Gallery,
Mexico City. All 70 photographs in show were created during the
Mexico
sojourn. The "Heroic Heads" are the most important photographs
shown.
December 31: Returns to Los Angeles with Chandler.
January: Sets up portrait studio with Johan Hagemeyer in San
Francisco after a brief stay in Tropico studio. Begins two
important
nude series using Miriam Lerner and 8 year old son Neil as models.
May: Burns all
pre-Mexico "Daybooks". Thereby destroying all records
of his Los Angeles photo career and his association with Margrethe
Mather.
August 20: Sails to Mexico aboard the S.S. Oaxaca with 13 year
old son Brett.
August: 10-day exhibition at the State Museum in Guadalajara.
Governor purchases 6 prints for the Museum.
October: New Mexico series: Excusado (toilet), still - life of
Juguetes (Mexican toys) and pulquerias (saloons).
March: With brief instructions Brett begins photographic career
that will last more than 60 years.
May 14: Signs contract with Anita Brenner for $1,000 to illustrate
book, Idols behind Altars. Contract requires 3 finished prints
from
400 8x10 negatives. Shooting requires travels to little known
areas
of Mexico. Sculptures and native arts and crafts are primary
subjects.
Idols Behind Altars trips:
June 3 - July 3: Eastern leg of travel produces 110 negatives.
July 18 - August 26: Western leg of travel produces 150 -
negatives.
September 14 - November 6: Various travel locations produces the
final 140 negatives required for the project.
November: Leaves Tina in Mexico and returns to Glendale, (formerly
Tropico) California with Brett.
February: Dual exhibition of work at University of California with
Brett. Brett's first exhibition at 15 years old. 100 prints of
Edward's
hung with 20 of Brett's.
Begins nude series with model and friend Christal Gang. First
serious work since Mexico.
February 14: Meets Canadian painter Henrietta Shore.
Borrows shells from Shore for still life series.
March: Negative S1, "Shell, 1927," created. First image of classic
shell series. Exposure: 4 - 5 hours at f / 256.
April: Photographs "Dancing Nude" series of Los Angeles modern
dancer Bertha Wardell.
July: Moves to Johan Hagemeyer's studio at 117 Post Street in
San Francisco.
August: Portions of the "Daybooks," published for the first time
in
Creative Art, magazine. Manuscript edited by Christal Gang and
and Ramiel McGehee.
September 16: Exhibition at Palace of the Legion of the Legion of
Honor.
Meets Willard Van Dyke at the opening.
January 3: Meets Bauhaus architect and designer Richard Neutra.
Asked to curate west coast photography contribution to the
Deutsche
Werkbund Film un Foto exhibition in Stuttgart.
January 7: Moves to Johan Hagemeyer's studio in Carmel to be
closer
to nature. Places sign in studio window that states, "Edward
Weston
Photographer, Unretouched Portraits, Prints for Collectors."
March: Tries to reestablish contact with Margrethe Mather. Wants
to
include her work in the Film un Foto exhibition. Mather never
responds.
March 20: Visits Point Lobos and begins series of kelp, rocks and
cypress studies. Work at Point Lobos will last until the end of
Edward's photographic career.
April: Photographer Sonya Noskowiak becomes partner and lover.
February: Switches to glossy photographic paper for personal work.
Influenced in decision by Brett.
July 19: Jose Clemente Orozco and Alma Reed visit Carmel. Creates
portrait of Orozco. Similar in approach to "heroic head" series
from
Mexico. Orozco describes Weston as the first surrealist
photographer and proposes New York exhibition.
August: Negative 30P, "Pepper No. 30, 1930," created. The most
famous image of Edward's photographic career.
October 15: First New York, One-Man Show of 50 photographs,
opens at Alma Reed's Delphic Studio Gallery.
Talks breakdown with Johan Hagemeyer over rent of studio.
Hagemeyer request rent hike from $60 - $75 per month.
Edward moves out of Hagemeyer's studio and their friendship
is forever broken.
>>
1932 - 1940 |
