Japan - The portfolios of Brett Weston

	THE PORTFOLIOS OF BRETT WESTON: volume seven japan
Books By Photographer Robert Adams Hans Bol Marilyn Bridges Paul Caponigro Keith Carter Paula Chamlee Carl Chiarenza Linda Connor Peter Elliston Larry Fink Emily Grimes Eric Lindbloom Elaine Ling Alejandro Lopez De Haro R. Bill Lowenburg Nathan Lyons Douglas Mellor Richard Copeland Miller Arno Rafael Minkkinen Nicholas Nixon Michael A. Smith George Tice Arthur Tress Brett Weston Edward Weston Portfolio Book Series 1. Nicholas Nixon 2. Carl Chiarenza 3. George Tice 4. Keith Carter 5. Linda Connor 6. Larry Fink 7. Arthur Tress 8. Marilyn Bridges 9. Paul Caponigro 10. Douglas Mellor 11. Hans Bol 12. Robert Adams 13. Eric Lindbloom 14. Arno Rafael Minkkinen Read about the series Portfolios of Brett Weston San Francisco, 1939 White Sands, 1949 and 1975 New York, 1951 Fifteen Photographs, 1961 Ten Photographs, 1963 Baja California, 1968 Japan, 1970 Europe, 1973 Oregon, 1975 Portraits Of My Father, 1977 Vintage Collection #1, 1977 Twenty Photographs, 1978 Alaska, 1978 Hawaii: Leaves and Lava, 1980 Abstractions No. 1, 1925-1980 Abstractions No. 2, 1927-1980 Student Print Series, 1954–1977 Special Edition, 1951 Read about the series	Weston visited Japan only once, in 1970, and produced the Japan portfolio that same year. Besides new subjects and textures, he was obviously fascinated with Japanese architecture, design, and calligraphy, and he seems also to have absorbed something of the style of Japanese art. For example, in contrast to conventions of perspective in Western paintings, which tend to move horizontally and employ a single vanishing point, Japanese (and Chinese) landscape paintings tend to move or "read" from top to bottom (as does Japanese writing), and to employ ichnographic perspective, which has no single vanishing point and also implies a distant point of view. Weston seems to give a nod to this Oriental aesthetic with the five landscapes he includes here. . . . In other words, Weston's personal artistic interests seem to mesh with the Japanese environment and the style of Japanese art. He was clearly fascinated with the new shapes and textures of Japan, and he rhymes these shapes and textures across the portfolio. —From the Afterword by Roger Aikin 12 1/2" x 12 1/2", 15 reproductions, 44 pages View representative photographs. More about the nineteen-volume series