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Walter Sickert King George V and Queen Mary oil painting


King George V and Queen Mary
Painting ID::  3846
Walter Sickert
King George V and Queen Mary
c1935 24.5" x 29.75" Private Collection

   
   
     

Walter Sickert Bathers-Dieppe (nn02) oil painting


Bathers-Dieppe (nn02)
Painting ID::  23068
Walter Sickert
Bathers-Dieppe (nn02)
c.1902 Oil on canvas 51 3/4x41 1/8"

   
   
     

Walter Sickert Gatti's Hungerford Palace of Varieties Second Turn of Katie Lawrence (nn02) oil painting


Gatti's Hungerford Palace of Varieties Second Turn of Katie Lawrence (nn02)
Painting ID::  23070
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"

   
   
     

Walter Sickert Self-Portrait oil painting


Self-Portrait
Painting ID::  27105
Walter Sickert
Self-Portrait
mk52 1907 Watercolour and pastel on paper 75.3x60cm

   
   
     

Walter Sickert George Moore oil painting


George Moore
Painting ID::  28193
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
     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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