Whistler, His Followers and His Brother-In-Law
The Artistic Circle and the Artists Influenced by Him
The Artistic Circle and the Artists Influenced by Him
- Whistler, La Vieille aux Loques
- Whistler, The Rag Gatherers
- Whistler, The Music Room
- Whistler, Drouet
- Whistler, Old Hungerford Bridge
- Whistler, Tatting
- Whistler, Old Putney Bridge
- Whistler, San Giorgio
- Whistler, The Bridge, Venice
- Whistler, Alderney Street
- Whistler, Regent's Quadrant
- Whistler, The Tyresmith
- Whistler, Grand Rue, Dieppe
- Whistler, Clockmaker's House
- Whistler, The Smith
- Whistler, Back of the Gaiety
- Haden, Mytton Hall
- Haden, A Water Meadow
- Haden, Shere Mill Pond
- Haden, Sunset in Ireland
- Haden, The Breaking Up of the Agamemnon
- Keene, Portrait Mrs. Heseltine
- Greaves, Portrait of a Woman
- Roussel, Chelsea Palaces
- Roussel, Chelsea Children
- Roussel, Portrait Miss Austin
- Roussel, A Study by Lamplight
- Roussel, House in Green Park
- Way, Sailing Ship
- Sickert, Mother and Daughter
- Sickert, Mon Bon Dodo
- Winslow, Boat-Building Yards
- Addams, Little Market Place
- Anderson, Market Passage
- Bacher, Castello Quarter, Riva
- Menpes, Little Bridge, Amsterdam
- Menpes, Old Wooden House
- Short, George's Dock
- Weir, Coon Alley
- Hassam, The Little Church
- Pennell, Butcher's Row
- Pennell, St. Paul's
- Pennell, London Bridge
- Pennell, Tyburn
- Marin, Meaux Cathedral
- Marin, Market Place
- McBey, Antwerp
- McBey, The Silk Dress
- Leheutre, La Rochelle
- Leheutre, La Passerelle
- Jones, Workshop
- Winkler, Clay Street Hill
- Winkler, Low Tide
- Winkler, La Marchande Endormie
 |
52. John Winkler (1894-1979) Clay Street Hill |
 |
(click on image to print)
Clay Street Hill
Etching, 1917, 159 x 118 mm., Winkler 19, edition of 75.
Fine, sharp impression on wove paper with small but full margins, signed in pencil; one tiny stain (from an inclusion?) at the right. Subject matter aside, probably no etchings so closely resemble the style of Whistler's Thames series as those of the Austrian-born American, John Winkler. But Winkler was apparently etching in that style before ever seeing a Whistler and when he did see them, the influence merely intensified what was there already. Like Whistler, Winkler etched from life directly onto the plate; like Whistler, he found the center of attention (wherever it might be on the plate) and expanded the composition from it, getting sketchier as he moved farther from it; like Whistler, his line was confident and strong; and like the Whistler of the Thames series, he made the line do all the work, positively avoiding the atmospheric effects of varied plate tone. Many of Winkler's best etchings were of San Francisco's Chinatown, a subject he virtually owned and immortalized in his work.
