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Aubrey Beardsley
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Aubrey_Beardsley
1894
Oil on canvas 76.1 x 31 cm
(30 x 12 1/4 in)
Tate Gallery London (mk63)
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Gatti's Hungerford Palace of Varieties:Second Turn of Katie Lawrence
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Gatti's_Hungerford_Palace_of_Varieties:Second_Turn_of_Katie_Lawrence
c 1887-8
Oil on canvas mounted on board 84.4 x 99.3 cm (33 1/4 x 39 1/8 in)
Art Gallery of New South Wales Sydney (mk63)
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La Hollandais
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La_Hollandais
mk234
1906
50x40cm
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Walter Sickert, The Camden Town Murder, originally titled,
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Walter_Sickert,_The_Camden_Town_Murder,_originally_titled,
Walter Sickert, The Camden Town Murder, originally titled, What Shall We Do for the Rent?,[5], alternatively, What Shall We Do to Pay the Rent,[6] 1908 (detail)
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Henry Tonks.
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Henry_Tonks.
Henry Tonks. Sodales: Mr Steer and Mr Sickert, 1930.
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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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