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Walter Sickert Aubrey Beardsley oil painting


Aubrey Beardsley
Painting ID::  28194
Walter Sickert
Aubrey Beardsley
1894 Oil on canvas 76.1 x 31 cm (30 x 12 1/4 in) Tate Gallery London (mk63)

   
   
     

Walter Sickert Gatti's Hungerford Palace of Varieties:Second Turn of Katie Lawrence oil painting


Gatti's Hungerford Palace of Varieties:Second Turn of Katie Lawrence
Painting ID::  28468
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)

   
   
     

Walter Sickert La Hollandais oil painting


La Hollandais
Painting ID::  53938
Walter Sickert
La Hollandais
mk234 1906 50x40cm

   
   
     

Walter Sickert Walter Sickert, The Camden Town Murder, originally titled, oil painting


Walter Sickert, The Camden Town Murder, originally titled,
Painting ID::  60790
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 Henry Tonks. oil painting


Henry Tonks.
Painting ID::  60791
Walter Sickert
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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