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拍品專文
Edward Weston continually pushed himself to improve his work and surpass what he had achieved before. External stimuli often provoked these advances. On April 23, 1931, while photographing vegetables, Weston became excited about his work for the first time in months, and recorded in his daybook:
'Cabbage has renewed my interest, marvellous hearts, like carved ivory, leaves with veins like flame, with forms curved like the most exquisite shell. These forms-which Sonya [Noskowiak] discovered - came to me, coincident with a letter from Alma Reed in which my next N.Y exhibit is discussed! I knew it was coming, but to see the words 'I am already thinking of your next exhibition here,' made me sit up and take notice. I have 'some' reputation to live up to! I cannot fail to give even more than last year, - must not fail my friends!'
He returned to work and on April 28th he wrote:
'I worked again with the cabbage fragment, bettering my first efforts. I enlarged this bit, of an inch high, to almost 8 x 10. It will go in my next exhibit.' (The Daybooks of Edward Weston, Vol II: California, Aperture, 1966, pp. 213-214.) Indeed, in his next New York exhibition at the Delphic Studios in 1932, a print of this image was included.
'Cabbage has renewed my interest, marvellous hearts, like carved ivory, leaves with veins like flame, with forms curved like the most exquisite shell. These forms-which Sonya [Noskowiak] discovered - came to me, coincident with a letter from Alma Reed in which my next N.Y exhibit is discussed! I knew it was coming, but to see the words 'I am already thinking of your next exhibition here,' made me sit up and take notice. I have 'some' reputation to live up to! I cannot fail to give even more than last year, - must not fail my friends!'
He returned to work and on April 28th he wrote:
'I worked again with the cabbage fragment, bettering my first efforts. I enlarged this bit, of an inch high, to almost 8 x 10. It will go in my next exhibit.' (The Daybooks of Edward Weston, Vol II: California, Aperture, 1966, pp. 213-214.) Indeed, in his next New York exhibition at the Delphic Studios in 1932, a print of this image was included.