Edward Weston

At 71 years old, Edward Weston has this physical status:

Edward Henry Weston (1886 – January 1, 1958) was a twentieth-century American photographer.

"One of the twentieth century's greatest and influential American photographers" and "one of the twentieth century photography's greatest photographers." Weston's photographic career spanned an expanding variety of subjects, including landscapes, still lives, nudes, portraits, film scenes, and even whimsical parodies.

Because of his interest in the people and places of the American West, he reportedly developed a "quintessentially American, and particularly Californian approach to modern photography."

Weston was the first photographer to receive a Guggenheim Fellowship in 1937, and over the next two years, he shot nearly 1,400 negatives on his 8 x 10 view camera.

At Point Lobos, California, where he lived for many years, some of his best pictures were taken of the trees and rocks. When Weston was born in Chicago and moved to California at the age of 21, he was moved to California.

He knew he wanted to be a photographer from a young age, and his first efforts were reminiscent of the popular soft focus pictorialism of the 1980s.

However, within a few years, he departed that style and went on to become one of the leading photographers of highly detailed photographic photography. He was diagnosed with Parkinson's disease in 1947, and he stopped photographing immediately thereafter.

He spent the remaining ten years of his life in charge of the printing of over 1,000 of his most famous images.

Life and work

Edward Burbank Weston, the second child and only son of Edward Burbank Weston, an obstetrician, and Alice Jeanette Brett, a Shakespearean actor, was born in Highland Park, Illinois. His mother died when he was five years old, and he was mainly raised by his sister Mary, whom he referred to as "May" or "Maisie." She was nine years older than he was, and they had a strong family bond that was one of the few strong friendships in Weston's life.

When his father remarried when he was nine years old, he didn't get along with their new stepmother and stepbrother. Weston's father devoted the majority of his time to his new wife and her son after May was married and left their house in 1897. Weston was left on his own for a long time; he stopped going to school and moved into his own room in their large household.

A Kodak Bull's-Eye No. 11 was given to Weston's father as a birthday gift for his 16th birthday. 2, which was a basic box camera, was used to photograph two people. He took it on vacation in the Midwest, and by the time he returned home, his interest in photography had piqued, leading him to buy a used 5 7 inch view camera. He began photographing in Chicago parks and a farm owned by his aunt and developed his own film and prints. Later in life, he'll remember that his art at that early age displayed a strong artistic value. "I think that my earliest work from 1903, though immature, is more closely related to my new work," he said. Several of my photographs dating from 1913 to 1920, a time when I was attempting to be artistic," he said.

Weston became more isolated in Chicago in 1904 May when she and her family migrated to California. He earned a living by working at a local department store, but the bulk of his free time was shooting. He's been photographing for two years, and they published a full-page version of his photograph Spring, Chicago. This is the first known release of any of his photographs.

Weston participated in the men's double American round archery tournament at the 1904 Summer Olympics in September, with his father also participating in the same activity.

Weston left Chicago in the spring of 1906 and moved near May's home in Tropico, California, now a neighborhood in Glendale, at his sister's request. He decided to stay at home and pursue a career in photography, but soon realized he needed more professional training. A year later, he moved to Effingham, Illinois, to enroll in the Illinois College of Photography. They did a nine-month course, but Weston completed all of the class work in six months. If he paid for the full nine months, the school refused to give him a diploma; Weston refused and instead migrated back to California in 1908.

He was a photograph retoucher at George Steckel's Los Angeles studio for a short time. Louis Mojonier's more established studio was moved within a few months. He learned the techniques and profitability of owning a photography studio under Mojonier's guidance for the next several years.

Weston was introduced to Flora May Chandler, his sister's closest friend, within days of his return to Tropico. She was a student at the Normal School and went on to UCLA later. In Tropico, she took over the role of a grade-school teacher. She was seven years older than Weston and a distant cousin of Harry Chandler, who at that time was regarded as the head of "the single most influential family in Southern California." Weston and his biographers were unnoticed of this fact.

Weston and Chandler married in a simple ceremony on January 30, 1909. Edward Chandler Weston (1910–1993), the first of their four sons, was born on April 26, 1910. After Weston and his wife, Edward Chandler followed him later in life as an excellent photographer on his own. He clearly learned a great deal by working as an assistant to his father in the bungalow studio. He bid farewell to his mother and sibling brothers in 1923 and sailed off to Mexico with his father and Tina Modotti, his then-muse. Since his time in Mexico, he gave up on any aspirations in photography as a career. His life and fortune influenced him greatly. His later photographs, as a hobbyist, but not so rare, reveal an innate gift for the job.

In 1910, Weston founded "The Little Studio" in Tropico, where he began his own business. His sister questioned why he opened his studio in Tropico rather than in Los Angeles' nearby metropolis, Los Angeles, and he replied, "I'm going to make my name so famous that it won't matter where I live."

He worked alone and occasionally with the assistance of family members in his studio for the next three years. He was extremely particular about his work from the start of his career; in an interview at the time, he said, "[photographic] plates are nothing to me unless I get what I want." If I did not get the effect to suit me, I would have used thirty of them at a meeting.

His critical eye earned him more attention for his work. He received awards in national competitions, published many more photographs, and wrote articles for magazines such as Photo-Era and American Photography, promoting the pictorial style.

Theodore Brett Weston (1911–1993), Weston's second son, was born on December 16, 1911. He was a long-serving artist collaborate with his father and a well-known photographer on his own.

Margrethe Mather, a Los Angeles photographer, visited Weston's studio as a result of his increasing fame, and the couple formed an intimate relationship within a few months. Weston was a quiet Midwestern transplant to California, and Mather was a part of Los Angeles' burgeoning bohemian cultural scene. She was outgoing and artistic in a flamboyant manner, and her permissive sexual values were markedly different from conservative Weston at the time – Mather had been a prostitute and bisexual with a preference for women. Mather's uninhibited lifestyle was a stark contrast to Weston's home life; his wife Flora was described as a "homely, rigid Puritan, and an absolutely normal woman with whom he had little in common because he abhorred conventions."

Mather was hired by Mather to be his studio assistant, and the two men worked closely together for the next decade, producing individual and joint portraits of writers Carl Sandburg and Max Eastman. A joint exhibition of their work in 2001 revealed that during this period, Weston imitated Mather's style and, later, her subject selections. "fans, hands, eggs, melons, waves, beach tables, seashells, and birds wings" were captured by Mather on her own "all subjects that Weston will also investigate." She was described as "the first important person in my life" a decade later, and perhaps even now, although personal contact has ceased to be the most important." Weston began keeping detailed journals in early 1915, which he later came to call his "daybooks" later. He gathered his reflections about his art, photography, and his interactions with colleagues, lovers, and families over the next two decades. Lawrence Neil Weston, his third son, was born on December 6, 1916. He followed in his father's footsteps and became a well-known photographer. Weston first encountered photographer Johan Hagemeyer, whom Weston taught and loaned his studio from time to time. After returning from Mexico, Hagemeyer would return the favor by allowing Weston to use his studio in Carmel later this year. Weston maintained a living by photographing portraits in his tiny studio, which he referred to as "the shack."

Flora was still caring for their children. Cole Weston (191919–2003), their fourth son, was born on January 30, 1919, and afterward she had no time to leave their house.

Weston encountered two individuals in Los Angeles' burgeoning cultural scene during the summer of 1920: Roubaix de l'Abrie Richey, nicknamed "Robo" and a woman named Tina Modotti. Modotti, who then was only known as a stage and film actor, was never married to Robo, but they did so for the sake of his family. Weston and Modotti were immediately attracted to each other and became lovers straight away. Richey was aware of Modotti's affair, but he continued to be associates with Weston and later invited him to Mexico to share his studio.

Mather's studio was made an equal partner by Weston in the following year. They collected portraits of both of their names for several months. This was the first time in Weston's long career that he credited with another photographer.

He began photographing nude models for the first time in 1920. His first models were his wife Flora and their children, but Mather's nude studies followed shortly. Many more photographs of nude models were posted on his website, the first of hundreds of figure studies he would make of colleagues and lovers over the next 20 years.

Weston had kept his friendships with other women a mystery until now, but Flora became suspicious about his models and him. Chandler recalled that his mother used to bring him "errands" to his father's studio, asking him to inform her who was there and what they were doing.

Modotti was one of the first to convert Weston's nude. She was his primary model for the next several years.

He visited May, his sister who had moved to Middletown, Ohio, in 1922. Although he was there, he took five to six photographs of the tall smoke stacks at Armco's nearby Armco steel mill. These photos reflected a change in Weston's photographic style, a transition from the soft-focus pictorialist image of the past to a fresh, cleaner-edge style. "The Middletown trip was something to remember," he wrote down later this week: "My photographing of 'Armco' was something to remember...But even Stieglitz thought they were important."

At the time, New York City was America's cultural capital for photography as an art form, and Alfred Stieglitz was the most influential figure in photography. Weston wanted to fly to New York to speak with him, but he didn't have enough funds to make the trip. His brother-in-law gave him enough money to move from Middletown to New York City, and he spent the majority of October and early November there. Clarence H. White, Photographer and Photographer Gertrude Kasebier, as well as Stieglitz, were among those who attended, while on site. Stieglitz assured Weston, "Your work and attitude astounds me." You've brought me a lot of joy. And I can barely believe that of photographs.

Robo moved to Mexico shortly after Weston returned from New York and opened a batiks factory there. He had arranged for a joint exhibition of his photography and photographs by Weston, Mather, and a few others within a short time. Modotti was rushed by train to Robo, Mexico, but he died soon after arriving. Modotti was wounded by grief, but she recovered after a few weeks that she was determined to remain and go out the exhibition that Robo had arranged. The exhibition was a success, and Modotti's nude studies in no small part established Weston's artistic reputation in Mexico.

Modotti returned to California and Weston, and the pair began plans to return to Mexico together after the show concluded. He wanted to spend a few months shooting and promoting his art, and, more importantly, he could fly under the assumption that Modotti is his assistant and translator.

Weston briefly rejoined Mather and found several nudes of her lying in the sand at Redondo Beach the week before she headed to Mexico. These photographs were very different from his earlier nude experiments – sharply focused and revealing her entire body in relation to the natural environment. They've been dubbed the artistic prototypes for his most popular nudes, including those of Charis Wilson, which would take more than a decade later.

Weston, his son Chandler, and Modotti were all on a steamer for the long ride to Mexico on July 30, 1923. At the trial, his husband, Flora, and their other three sons waved goodbye to them. Flora's reaction to Weston and Modotti is uncertain, but she is reported to have called out at the court, "Take good care of my boys."

They arrived in Mexico City on August 11 and rented a large hacienda outside of the city. He had arranged an exhibit of his work at the Aztec Land Gallery within a month, and the exhibition opened on October 17 to raving press reviews. He was particularly proud of a study by Marius de Zayas that said, "Photography is starting to be photography, but it has only been art."

Weston was inspired by Mexico's diverse culture and scenery to see life in new ways. He became more alert to what was in front of him, and he began to photograph everyday items such as toys, doorways, and bathroom fixtures. Modotti's intimate nudes and portraits were also produced.

He wrote in his Daybooks:

Weston continued to photograph people and things around him, and his fame in Mexico soared as he stayed. In 1924, he had his second exhibition at the Aztec Land Gallery, and he had a steady stream of local socialites requesting him to photograph their portraits. Weston started to miss his other sons back in the United States, as with many of his behavior, it was a woman who inspired him the most. Miriam Lerner, a woman he had known for many years, had recently consulted with her, and as her letters became more passionate, he longed to see her again.

Chandler and his family returned to San Francisco at the end of 1924, and Johan Hagemeyer built a studio the next month. At this time, Weston seemed to be struggling with his past and his future. As opposed to eradicating the past, he smuggishly began a new line of nudes with Lerner and his son Neil. These photographs, he said, were "the start of a new phase in my photography experience and attitude."

Lerner's new friendship did not last long, and he returned to Mexico in August 1925, this time with his son Brett. Modotti had arranged a joint exhibition of their photographs, which had opened the week after he returned. He received new critical acclaim, and six of his prints were purchased for the State Museum. He honed on photographing folk art, toys, and local scenes for the next few months. Rene d'Harnoncourt's two best images of this period include three black clay pots, which art historian Rene d'Harnoncourt characterized as "the beginning of a new art."

Weston also signed an Anita Brenner's $1,000 to photograph photographs for a book she was writing about Mexican folk art in May 1926. He, Modotti, and Brett began traveling around the country in June in search of less well-known indigenous arts and crafts. Brenner had to get three finished prints from 400 8x10 negatives, but he didn't have to finish the job until November of this year. Brett received a crash course in photography from his father, and he made more than two dozen prints that were judged to be of exceptional quality by his father on his return home.

Weston and Modotti's friendship had deteriorated by the time they returned from holiday, and Brett and Ie's journey to California took less than two weeks. He never returned from Mexico again.

Weston returned to his old Glendale studio (previously called Tropico). He hasty arranged a two-exhibition show at the University of California of the photographs that he and Brett had assembled the year before. The father had 100 prints on display, while the son had 20. Brett was only 15 years old at the time.

He began a new line of nudes in February, this time with dancer Bertha Wardell. One of Weston's most popular figure studies, a portrait of her kneeling body cut off at the shoulders, is one of this series. Henrietta Shore, a Canadian painter, who wanted to comment on Wardell's pictures at the same time, met him at this point. "I wish you did not do so many nudes – you're getting used to them," her honest comment: "The bulk of these are just nudes."

He wanted to see her work and was intrigued by her large paintings of sea shells. He borrowed several shells from her in the hopes of finding some inspiration for a new still life collection. He tried many different shell and background combinations over the next few weeks, including fourteen negative shells in his log of photos taken for 1927. One of these, simply named Nautilus (1927), later identified Shell (1927), became one of his most famous photographs. Modotti called the photo "mystical and erotic," and when she displayed it to Rene d'Harnoncourt he said he felt "weak at the knees." Weston is said to have made at least twenty-eight copies of this photograph, more than he made of any other shell image.

Weston's Museum of Honor in San Francisco in September of this year held a major exhibition. Willard Van Dyke, a photographer who later introduced Weston to Ansel Adams, met him at the opening of the exhibition.

Weston and Brett made a short but crucial trip to the Mojave Desert in May 1928. It was there that he first explored and photographed landscapes as an art form. He found the stark rock formations and empty spaces to be a visual revelation, and took twenty-seven photographs over a long weekend. "These negatives are the most significant I've ever done," he wrote in his journal.

He and Brett then migrated to San Francisco, where they lived and worked in a small studio owned by Hagemeyer later this year. He made portraits to sell, but he wanted to get away from himself and back to his art. He moved to Hagemeyer's cottage in Carmel in early 1929, and it was there that he found the peace and inspiration he had been looking for. "Edward Weston, photographer, Unretouched Portraits, Prints for Collectors," he posted in a window.

He began going to Point Lobos, where he'll continue to photograph until the end of his career. It was there that he learned to fine-tune his photographic vision to match his camera's visual space, and the images he took there of kelp, rocks, and wind-blown trees are among his finest. One biographer wrote about his work from this period: "I'm not sure I'm interested in his work from the time.

Weston met photographer Sonya Noskowiak at a party in early April 1929, and by the end of the month, she was living with him. She became his model, muse, pupil, and assistant, as with many of his other friendships. They will continue to work together for five years.

In 1930, George Weston began to take close-ups of vegetables and fruits, being fascinated by the numerous types and shapes of kelp. He took a number of photographs of cabbage, kale, onions, bananas, and, eventually, his most famous photograph, peppers. Noskowiak gave him many green peppers in August and at least thirty different negatives over a four-day span. Pepper No. 1 is one of these peppers. The 30 is one of photography's all-time masterpieces.

In 1930–31, Weston hosted a number of important one-man exhibitions. The first was at Alma Reed's Delphic Studio Gallery in New York, followed closely by a re-creation of the same exhibit at the Denny Watrous Gallery in Carmel. Both books were well-received, with a two-page article in the New York Times Magazine. These were followed by shows at the De Young Museum in San Francisco and the Galerie Jean Naert in Paris.

Although he was thriving professionally, his personal life was very complicated. Flora was able to look after their children for the majority of their marriage due to her parents' inheritance. However, the 1929 Wall Street rash wiped out the majority of her savings, and Weston was under increasing pressure to provide more for her and his sons. "This period of my life" is regarded as the most challenging economic period of his life.

The Art of Edward Weston, the first book devoted solely to Weston's work, was published in 1932. Merle Armitage edited it and dedicated to Alice Rohrer, an admirer and patron of Weston whose $500 donation paid for the book to be published.

A small group of like-minded photographers in San Francisco, led by Van Dyke and Ansel Adams, started informally meeting to discuss their mutual interest and aesthetics. The museum was inspired by Weston's presentation at the De Young Museum the previous year, and they approached the museum with the intention of exhibiting a group exhibition exhibiting their work. They branded themselves Group f/64, and the museum opened an exhibit of 80 of their prints in November 1932. The show was a huge success.

Weston purchased a 4 5 Graflex camera in 1933, which was much smaller and lighter than his previous large view camera, which he had used for many years. Noskowiak and other models' close nudes began to appear. He was able to interact more with his models with the smaller camera, but the nudes he took during this period began to look like some of the contorted root and vegetables he had grown into years ago.

"A new and significant chapter opened" in Weston's life when he met Charis Wilson at a concert in early 1934. Weston was instantly captivated by her beauty and her personality, much more than with his previous lovers. "A new love came into my life, a most beautiful one that will, I believe, withstand time." He photographed her nude for the first time on April 22 for the first time, and the two couples struck a serious marriage. At the time, he was still living with Noskowiak, but within two weeks, he begged her to leave, saying that for him, other women were "inevitable as the tides."

Possibly because of the ferocity of his new love, he stopped writing in his Daybooks at the same time. He wrote one last entry looking back from April 22: six months later.

Weston was having financial difficulties in January 1935. He closed his Carmel studio and moved to Santa Monica Canyon, California, where he and Brett opened a new studio together. Wilson begged Wilson to come and live with him, but she did finally agree in August 1935. Wilson, the first woman to live with since Flora who had no intention of becoming a photographer, showed a keen interest in his work. Weston was able to concentrate on her as his muse and model, and in return, Wilson devoted her time to promoting Weston's art as his assistant and quasi-agent.

Wilson was quick to start taking a new line of nudes, with Wilson as the model. Nude (Charis, Santa Monica), one of his first photographs of her on the balcony of their house, became one of his most published images (Nude). They were on their first of many trips to Oceano Dunes less than a year ago. Wilson was photographed in purely uninhibited poses in the sand dunes by Weston, who took some of his most striking and intimate photos of any of his models. In his lifetime, he only saw one or two of this series, considering that some of the others were "too erotic" for the general public.

Despite the fact that his latest work had received critical acclaim, he was still not receiving enough money from his artistic films to support a steady income. He founded "Edward Weston Print of the Month Club," a monthly subscription that gives previews of his photography rather than relying solely on portraiture. Every month, Weston will produce a new print, with a limited edition of 40 copies of each print. Despite the fact that he made these prints with the same high standards as he did for his exhibition prints, it is believed that there were no more than eleven subscribers.

Weston accepted a Guggenheim Foundation grant (now known as a Guggenheim Fellowship), at Beaumont Newhall's suggestion. He wrote a two-sentence description of his work, assembled thirty-five of his favourite prints, and sent it in. Dorothea Lange and her husband argued that the application was too short to be seriously considered, and Weston resubmitted it with a four-page letter and a work plan. Wilson did not mention that he had written the new request for him.

Weston received notification on March 22, 1937, the first time a photographer was given a Guggenheim award. The award was $2,000 for a year, a substantial amount of money at that time. During their travels, Wilson was able to cash in on the award by arranging to offer the editor of AAA Westway Magazine with 8–10 photos per month for $50, with Wilson receiving an additional $30 per month for photo captions and short narratives. They bought a new car and set out on Weston's wild trip to travel and photograph whatever he wanted. Wilson's detailed log shows that they rode seventeen trips in the first twelve months and covered 16,697 miles. During the trip, Weston generated 1,260 negatives.

Weston finally divorced his wife after enjoying the freedom of this journey with the "love of his life." They had been living apart for sixteen years.

Weston applied for and received a second year of Guggenheim assistance as a result of the previous year's success. Although he wanted to do more traveling, he planned to use the majority of the funds to print his previous year's work. Neil was hired by Wilson's father to build a small home in the Carmel Highlands on property owned by Wilson's father. Because of the numerous domestic cats that populated the grounds soon, they named the place "Wildcat Hill."

Wilson created a writing studio in what was supposed to be a small garage behind the house, and she spent several months writing and editing stories about their travels.

Seeing California with Edward Weston was published in 1939, with photographs by Weston and Wilson. Weston married Wilson in a small ceremony on April 24, having been freed from the financial pressures of the previous year and inordinately happy with his work and his family life.

They were inspired by the success of their first book in 1940 and the West. Wilson's first edition, which contained 96 of Weston's images with text, sold for $3.95. Weston taught photography at the first Ansel Adams Workshop at Yosemite National Park over the summer.

Weston was invited to illustrate a new version of Walt Whitman's Leaves of Grass just as the Guggenheim funds were running out. He'll be paid $1,000 for photographs and $500 for travel. Weston insisted on artistic control of the photographs he'd take, despite insisting that he would not be taking literal interpretations of Whitman's text. Wilson and Wilson began a trip that would stretch through 24 states on May 28; they shot between 700 and 800 8x10 negatives as well as hundreds of Graflex portraits.

Pearl Harbor was attacked on December 7, 1941, and the United States declared World War II. Weston was close to completing his Whitman trip, and he was particularly affected by the war's outbreak. "We scurried home when the war came out," he wrote. Charis did not want to scurry. I did.

He spent the first few months of 1942 organizing and printing the Whitman's negatives. Of hundreds of photographs he took, forty-nine were chosen for publication.

Point Lobos has been closed to the public for many years due to the war. Weston continued to work on Wildcat Hill, which included pictures of the numerous cats that lived there. Weston treated them with the same seriousness he used to all of his other subjects, and Charis converted the findings into their most unusual book, The Cats of Wildcat Hill, which was finally published in 1947.

The year 1945 marked the start of major shifts for Weston. He began to show the first signs of Parkinson's disease, a debilitating illness that gradually robbed his energy and his ability to photograph. Wilson resigned from Wilson, but he began to become more active in local politics and the Carmel cultural scene at the same time. A strength that brought them together – their inability to become a photographer herself – culminated in their break-up. "My flight from Edward was also a way of escaping from photography, which had taken up so much space in my life for so long," she explained.

Wilson and Wilson separated while assisting on a major retrospective exhibition at the Museum of Modern Art. Weston returned to Glendale after Wilson's father's land for their cabin at Wildcat Hill didn't belong to Wilson's father. Within a few months, she grew out and sold the house to him.

Weston's major retrospective at the Museum of Modern Art in New York in February 1946 opened in February. The exhibition was curated by He and Beaumont Newhall, and 250 photographs were eventually displayed along with 11 negatives. Many of his prints were still available at that time, and he sold 97 prints from the show for $25 per print. Weston was requested by Dr. George L. Waters of Kodak later this year to produce 8 ten Kodachrome transparencies for their advertising campaign. Weston had never worked in color before, primarily because he had no means of producing or printing the more difficult color process. In no small part, he accepted their invitation because they paid him $250 per photograph, the highest sum he would be paid for any single job in his lifetime. At Point Lobos and nearby Monterey harbor, he sold seven color works to Kodak of landscapes and scenery.

Weston began searching for an assistant in 1947, as his Parkinson's disease progressed. Dody Weston Thompson, a keen young photographic enthusiast, contacted Seripitously in search of work, suggesting that he be contacted in search of work.

Weston revealed that he had written a letter to Ansel Adams earlier this morning, requesting someone who wanted to learn photography in exchange for carrying his heavy large-format camera and to give someone a much needed vehicle. A creative mind was gathered in a snap. Dody moved from San Francisco on weekends to Weston's basics of photography from 1947 to 1948. As his full-time assistant, Dody converted to "Bodie House" in Edward's Wildcat Hill property in early 1948.

He was no longer able to use his large view camera by late 1948. At Point Lobos, he took his last photos of the year. Rocks and Pebbles, 1948, his final negative was an illustration. Despite being limited in his work, Weston never stopped being a photographer. He collaborated with his sons and Dody to catalog his images, as well as overseeing his publication and printing of his work. In 1950, there was a major retrospective of his work at the Musee National d'Art Moderne in Paris, and in 1952, he released a Fiftieth Anniversary collection, with photographs by Brett.

During this period, he worked with Cole, Brett, and Dody Thompson (Brett's wife by 1952), to choose and have them print a master set of what he considers his finest work. They worked long hours together in the darkroom, and by 1956 they had eight sets of 8" 10" prints from 830 of his negatives. Today's only complete set is on display at the University of California, Santa Cruz. The Smithsonian Institution unveiled nearly 100 of these prints at a major exhibition titled "The World of Edward Weston," a nodal collection of American photography.

On New Year's Day, 1958, Weston died at his house on Wildcat Hill. His sons scattered his ashes into the Pacific Ocean at Pebbly Beach on Point Lobos, a no longer recognized area. The beach was later renamed Weston Beach due to Weston's great success in the area. At the time of his death, he had $300 in his bank account.

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