代写论文：摄影艺术
现代主义摄影在摄影中的主要目的是掩盖露骨的性，表现出复杂的感觉和语气。《文化遗产》代表了爱德华·韦斯顿在纽约现代艺术博物馆(Warren 2011)的托马斯·沃瑟收藏的作品。在这个博物馆里展出的艺术家的照片与他与许多欧洲人的友谊有关，这些欧洲人要么是在德国出生的，要么是来自德国的著名亲戚。威斯顿与德国的艺术联系在1910年发展到20世纪30年代。因此，可以说爱德华·韦斯顿的肖像摄影有很大的影响力。他的摄影作品也代表了各种元素，使他们成为现代主义艺术作品，并影响了许多美国的新艺术家。
代写论文：摄影艺术
韦斯顿摄影是美国流行文化的重要组成部分，并引入了民族文化。他的作品代表了墨西哥民族和文化的精髓。这就是他成为20世纪最具影响力的摄影师的原因。在这个时代，他的作品开始反映性、性别和文化遗产。他的爱情生活和与不同人的友谊对他的作品有着重要的影响，他的保守风格也转变为现代主义艺术。他在墨西哥文艺复兴时期也有重要的地位，他的摄影有内在的品质，这些品质在那个时代的任何其他艺术家都不存在。他的风格的改变在墨西哥得到了验证，因为他认为摄像机应该捕捉到生活，“为了呈现事物本身的本质和精髓，无论是抛光的钢铁还是悸动的肉体”(贝克尔2017,14)。他工作中的一些重要的例子是奥林、瓜达卢佩·德里维拉和曼努埃尔·埃尔南德斯·加尔文。
代写论文：摄影艺术
The main aim of the modernist photography and representation of modernism in photography was to hide the explicit sexuality and represent the sense and tone of sophistication. The cultural heritage represented though the work of Edward Weston in the Thomas Walther Collection at The Museum of Modern Art, New York (Warren 2011). The photographs of the artist presented in this museum are related to his friendship with many Europeans who were either born in Germany or had prominent relation from Germany. The artistic connection of Weston towards Germany developed in 1910’s and continued till 1930’s. Therefore, it can be said that portrait photography by Edward Weston was highly influential. His photography also represented the various elements that made them the modernist art pieces and influenced many new artists in America.
代写论文：摄影艺术
Photography by Weston had been very significant part of the American popular culture and had introduced national culture. His work represents the essence of nationhood and culture of Mexico. This was the reason that he became most influential photographer of 20th century. During this era, his work started reflecting sexuality, gender and cultural heritage. His love life and friendship with different people had significant influence on his work and his conservative style changed to modernist art. He also had a significant place in the Mexican Renaissance and his photography had inherent qualities that are not present in any other artist of that era. His change of style was validated in Mexico, as he believed that camera should capture the life, “for rendering the very substance and quintessence of the thing itself, whether it is polished steel or palpitating flesh” (Becker 2017, 14). Some of the significant examples of his work are Olin, Guadalupe Marin de Rivera, and Manuel Hernandez Galvan.
