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King George V and Queen Mary
Walter Sickert16.jpg
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King_George_V_and_Queen_Mary
c1935
24.5" x 29.75"
Private Collection
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Bathers-Dieppe (nn02)
new7/Walter Sickert-788257.jpg
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Bathers-Dieppe_(nn02)
c.1902
Oil on canvas
51 3/4x41 1/8"
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Gatti's Hungerford Palace of Varieties Second Turn of Katie Lawrence (nn02)
new7/Walter Sickert-239735.jpg
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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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Self-Portrait
new2/Walter Sickert-424848.jpg
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Self-Portrait
mk52
1907
Watercolour and pastel on paper
75.3x60cm
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George Moore
new3/Walter Sickert-476938.jpg
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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
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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