Show simple item record

dc.contributor.authorBarton, Laura Christine
dc.date.accessioned2012-05-11T00:27:07Z
dc.date.available2012-05-11T00:27:07Z
dc.date.issued2011-05
dc.identifier.urihttp://hdl.handle.net/1794/12205
dc.descriptionSubmitted to the Undergraduate Library Research Award scholarship competition: (2012). 71 p.en_US
dc.description.abstractPhotographer Edward Weston has long been hailed as one of the heroes of modern photography and has been praised for his stunning approach to landscapes, nudes, and still-lifes. This thesis examines his treatment of the nude female form and examines the relationship that the photographs establish between the human body and the natural world. Through a series of in-depth visual and formal analyses of his early nudes and still-lifes, I show that Weston un-animated the human body, while animating the vegetables, shells, and landscapes that he photographed. Thus, he created not a vertical hierarchy where humans are placed above the natural world, but instead created a horizontal plane where all natural forms are equalized. This approach differs from most of the pre-existing scholarship on Weston, which has long interpreted his work using either the biographical method or feminist theory, both of which serve primarily to either maintain or reject Weston‘s heroic status; this paper attempts to instead explain how the photographs themselves serve to create meaning.en_US
dc.language.isoen_USen_US
dc.publisherUniversity of Oregonen_US
dc.rightsrights_reserveden_US
dc.subjectWeston, Edward, 1886-1958
dc.subjectNude photography
dc.subjectPhotography of the nude
dc.subjectStill-life photography
dc.titleInterdependent parts of the whole: Edward Weston's studio nudes and still lifes, 1925-1933en_US
dc.typeThesisen_US


Files in this item

Thumbnail

This item appears in the following Collection(s)

Show simple item record