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Walter Sickert Ennui oil painting


Ennui
Painting ID::  3841
Walter Sickert
Ennui
c1913 Tate Gallery, London

   
   
     

Walter Sickert The New Bedford oil painting


The New Bedford
Painting ID::  3842
Walter Sickert
The New Bedford
1915 30" x 15" The Tate Gallery, London

   
   
     

Walter Sickert Cicely Hey oil painting


Cicely Hey
Painting ID::  3843
Walter Sickert
Cicely Hey
1922-23 25.25" x 30.25" The British Council

   
   
     

Walter Sickert Victor Lecour oil painting


Victor Lecour
Painting ID::  3844
Walter Sickert
Victor Lecour
1922-24 32" x 23.75" The City Art Gallery, Manchester

   
   
     

Walter Sickert Lazurus Breaks His Fast oil painting


Lazurus Breaks His Fast
Painting ID::  3845
Walter Sickert
Lazurus Breaks His Fast
1927 30" x 25" Private Collection

   
   
     

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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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