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Walter Sickert
St Mark's Cathedral, Venice
c1896 25" x 19"
Private Collection
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Walter Sickert
Interior of St Mark's, Venice
1896
27 1/2" x 19 3/8"
Tate Gallery, London
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Walter Sickert
The Old Bedford
1897
30" x 23.75"
The Walker Art Gallery, Liverpool
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Walter Sickert
The Quai Duquesne and the Rue Notre Dame, Dieppe
1900
22" x 18.25"
Private Collection
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Walter Sickert
The Statue of Duquesne, Dieppe
1902
51.5" x 39.75"
The City Art Gallery, Manchester
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Walter Sickert
La Giuseppina
1903-04 19" x 14.5"
Private Collection
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Walter Sickert
La Hollandaise
1905 20" x 16"
Private Collection
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Walter Sickert
The Juvenile Lead
1908
20" x 18"
The Southampton Art Gallery, UK
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Walter Sickert
Jack Ashore
1911
13" x 16"
Private Collection
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Walter Sickert
The New Home
c1912
20" x 16"
Private Collection
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Walter Sickert
Ennui
c1913
Tate Gallery, London
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Walter Sickert
The New Bedford
1915 30" x 15"
The Tate Gallery, London
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Walter Sickert
Cicely Hey
1922-23
25.25" x 30.25"
The British Council
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Walter Sickert
Victor Lecour
1922-24
32" x 23.75"
The City Art Gallery, Manchester
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Walter Sickert
Lazurus Breaks His Fast
1927
30" x 25"
Private Collection
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Walter Sickert
King George V and Queen Mary
c1935
24.5" x 29.75"
Private Collection
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Walter Sickert
Bathers-Dieppe (nn02)
c.1902
Oil on canvas
51 3/4x41 1/8"
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Walter Sickert
Gatti's Hungerford Palace of Varieties Second Turn of Katie Lawrence (nn02)
c.1887-1888
Oil on canvas mounted on hardboard
33 1/4x39 1/8"
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Walter Sickert
Self-Portrait
mk52
1907
Watercolour and pastel on paper
75.3x60cm
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Walter Sickert
George Moore
1891
Oil on canvas 60.3 x 50.2 cm
(23 3/4 x 19 3/4 in)
Tate Gallery London (mk63)
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| Walter Sickert
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German
1860-1942
Walter Sickert Gallery
Walter Richard Sickert (May 31, 1860 in Munich, Germany ?C January 22, 1942 in Bath, England) was a German-born English Impressionist painter. Sickert was a cosmopolitan and eccentric who favoured ordinary people and urban scenes as his subjects
He developed a personal version of Impressionism, favouring sombre colouration. Following Degas' advice, Sickert painted in the studio, working from drawings and memory as an escape from "the tyranny of nature".[3] Sickert's earliest major works were portrayals of scenes in London music halls, often depicted from complex and ambiguous points of view, so that the spatial relationship between the audience, performer and orchestra becomes confused, as figures gesture into space and others are reflected in mirrors. The isolated rhetorical gestures of singers and actors seem to reach out to no-one in particular, and audience members are portrayed stretching and peering to see things that lie beyond the visible space. This theme of confused or failed communication between people appears frequently in his art.
By emphasising the patterns of wallpaper and architectural decorations, Sickert created abstract decorative arabesques and flattened the three-dimensional space. His music hall pictures, like Degas' paintings of dancers and caf??-concert entertainers, connect the artificiality of art itself to the conventions of theatrical performance and painted backdrops. Many of these works were exhibited at the New English Art Club, a group of French-influenced realist artists with which Sickert was associated. At this period Sickert spent much of his time in France, especially in Dieppe where his mistress, and possibly his illegitimate son, lived
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