Weston, who had taken on the cause of government support for the arts and artists, was better known internationally in the late 1950s for his political work than for his painting. Weston’s realism was played out, and he needed a fresh idiom. With a long and respected career behind him and in his mid-60s he was nevertheless inspired to experiment while staying on the Isle of Rhodes, Greece. Ultimately, he arrived at abstraction not through expressionism but through the precision technique he had been using for twenty years.

He bore down on nature’s microcosm, transforming its patterns into rhythmic abstractions. A weathered fungus, an insect-ridden stick, or stones from Canada’s Gaspé Peninsula became his last work. <previous page / next page>

Webs of Space, 1964, brush drawing
on paper. Private collection

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Copyright © 2005 The Harold Weston Foundation