Oil On Canvas, Real Flavor of Old Masters

All Walter Sickert 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
Aubrey Beardsley, Walter Sickert
 Aubrey Beardsley   1894 Oil on canvas 76.1 x 31 cm (30 x 12 1/4 in) Tate Gallery London (mk63)
Bathers-Dieppe (nn02), Walter Sickert
 Bathers-Dieppe (nn02)   c.1902 Oil on canvas 51 3/4x41 1/8"
Cicely Hey, Walter Sickert
 Cicely Hey   1922-23 25.25" x 30.25" The British Council
Ennui, Walter Sickert
 Ennui   c1913 Tate Gallery, London
Gatti's Hungerford Palace of Varieties Second Turn of Katie Lawrence (nn02), 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"
Gatti's Hungerford Palace of Varieties:Second Turn of Katie Lawrence, Walter Sickert
 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)
George Moore, 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)
Henry Tonks., Walter Sickert
 Henry Tonks.   Henry Tonks. Sodales: Mr Steer and Mr Sickert, 1930.
Interior of St Mark's, Venice, Walter Sickert
 Interior of St Mark's, Venice   1896 27 1/2" x 19 3/8" Tate Gallery, London
Jack Ashore, Walter Sickert
 Jack Ashore   1911 13" x 16" Private Collection
King George V and Queen Mary, Walter Sickert
 King George V and Queen Mary   c1935 24.5" x 29.75" Private Collection
La Giuseppina, Walter Sickert
 La Giuseppina   1903-04 19" x 14.5" Private Collection
La Hollandais, Walter Sickert
 La Hollandais   mk234 1906 50x40cm
La Hollandaise, Walter Sickert
 La Hollandaise   1905 20" x 16" Private Collection
Lazurus Breaks His Fast, Walter Sickert
 Lazurus Breaks His Fast   1927 30" x 25" Private Collection
Self-Portrait, Walter Sickert
 Self-Portrait   mk52 1907 Watercolour and pastel on paper 75.3x60cm
St Mark's Cathedral, Venice, Walter Sickert
 St Mark's Cathedral, Venice   c1896 25" x 19" Private Collection
The Juvenile Lead, Walter Sickert
 The Juvenile Lead   1908 20" x 18" The Southampton Art Gallery, UK
The New Bedford, Walter Sickert
 The New Bedford   1915 30" x 15" The Tate Gallery, London
The New Home, Walter Sickert
 The New Home   c1912 20" x 16" Private Collection
The Old Bedford, Walter Sickert
 The Old Bedford   1897 30" x 23.75" The Walker Art Gallery, Liverpool
The Quai Duquesne and the Rue Notre Dame, Dieppe, Walter Sickert
 The Quai Duquesne and the Rue Notre Dame, Dieppe   1900 22" x 18.25" Private Collection
The Statue of Duquesne, Dieppe, Walter Sickert
 The Statue of Duquesne, Dieppe   1902 51.5" x 39.75" The City Art Gallery, Manchester
Victor Lecour, Walter Sickert
 Victor Lecour   1922-24 32" x 23.75" The City Art Gallery, Manchester
Walter Sickert, The Camden Town Murder, originally titled,, Walter Sickert
 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)

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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