gelatin silver print, 19,3 x 23,7 cm / 7,6 x 9,4 inch
Member of f/64 group and son of Edward WESTON, Brett WESTON (1911-1993) developped an artistic approach akin to abstraction. Landscapes become the pretext for compositions and shapes studies. His interest in bi-dimensionality and formality brings him closer to the aesthetics of Aaron SISKIND (1903-1991) or Minor WHITE (1908-1976). Through that, he emancipated from the two figureheads of the f/64 group : Ansel ADAMS (1902-1984) and Edward WESTON (1886-1958).
With Mendenhall Glacier, Brett WESTON made one of his most abstract photographs. The mirror game and the strong contrasts disorient the viewer, who can not directly grasp what the photograph represents. This work of repetition of the motif can also be found in paintings. We can notice affinities with the paintings of Georgia O’KEEFFE (1887-1986), whether in her landscapes or her still lifes. She was Alfred STIEGLITZ’s wife and a very famous painter, Brett WESTON had certainly crossed her works many times.
