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Lot Essay
As documented in his Daybooks, Edward Weston recognized the summer of 1929 as the start of a particularly significant, prolific period in his career. He devoted much of this time to photographing vegetables, notably peppers of ‘marvelous convolutions’ whose intriguing forms enamored Weston so fully they distracted him from producing commissioned works. This infatuation with the pepper as ideal photographic subject is best explained by the artist himself:
I have done perhaps fifty negatives of peppers: because of the endless variety in form manifestations, because of the extraordinary surface texture, because of the power, the force suggested in their amazing convolutions.
This particular image, often referred to as 'the embrace,' was his most popular at the time. Other prints of this image reside in the institutional collections of the Art Institute of Chicago; the Huntington Library; the Indiana University Art Museum; the Museum of Modern Art; the Special Collections of University of California, Santa Cruz and the Nora Eccles Harrison Museum of Art, Utah State University, Logan.
I have done perhaps fifty negatives of peppers: because of the endless variety in form manifestations, because of the extraordinary surface texture, because of the power, the force suggested in their amazing convolutions.
This particular image, often referred to as 'the embrace,' was his most popular at the time. Other prints of this image reside in the institutional collections of the Art Institute of Chicago; the Huntington Library; the Indiana University Art Museum; the Museum of Modern Art; the Special Collections of University of California, Santa Cruz and the Nora Eccles Harrison Museum of Art, Utah State University, Logan.