Gerd Winner's atmospheric early-1970s screenprints of London dockland wharfs:
Gerd Winner's atmospheric early-1970s screenprints of London dockland wharfs:
Gerd Winner's atmospheric early-1970s screenprints of London dockland wharfs:
Gerd Winner's atmospheric early-1970s screenprints of London dockland wharfs:
Gerd Winner's atmospheric early-1970s screenprints of London dockland wharfs:
And the silent streets behind:
And the silent streets behind:
And the silent streets behind:
And the silent streets behind:
And the silent streets behind:
Some more:
Some more:
Some more:
Some more:
Some more:
& another - in Bankside I believe. I love how they capture the various textures of dirty crumbly brick walls
Interesting to compare Gerd Winner's screenprints with James McNeill Whistler's 1859 beautiful Thameside etchings of the same area. Of course more life & a different aesthetic in Whistler's vision - but in some ways 1972 feels as close to 1859 as it does to now.
Interesting to compare Gerd Winner's screenprints with James McNeill Whistler's 1859 beautiful Thameside etchings of the same area. Of course more life & a different aesthetic in Whistler's vision - but in some ways 1972 feels as close to 1859 as it does to now.
Interesting to compare Gerd Winner's screenprints with James McNeill Whistler's 1859 beautiful Thameside etchings of the same area. Of course more life & a different aesthetic in Whistler's vision - but in some ways 1972 feels as close to 1859 as it does to now.
Interesting to compare Gerd Winner's screenprints with James McNeill Whistler's 1859 beautiful Thameside etchings of the same area. Of course more life & a different aesthetic in Whistler's vision - but in some ways 1972 feels as close to 1859 as it does to now.
Interesting to compare Gerd Winner's screenprints with James McNeill Whistler's 1859 beautiful Thameside etchings of the same area. Of course more life & a different aesthetic in Whistler's vision - but in some ways 1972 feels as close to 1859 as it does to now.
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