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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Walter Sickert St Mark's Cathedral, Venice oil


St Mark's Cathedral, Venice
Painting ID::  3831
St Mark's Cathedral, Venice
c1896 25" x 19" Private Collection
c1896_25"_x_19" Private_Collection
   
   
     

Walter Sickert Interior of St Mark's, Venice oil


Interior of St Mark's, Venice
Painting ID::  3832
Interior of St Mark's, Venice
1896 27 1/2" x 19 3/8" Tate Gallery, London
1896_ 27_1/2"_x_19_3/8" Tate_Gallery,_London
   
   
     

Walter Sickert The Old Bedford oil


The Old Bedford
Painting ID::  3833
The Old Bedford
1897 30" x 23.75" The Walker Art Gallery, Liverpool
1897_ 30"_x_23.75" The_Walker_Art_Gallery,_Liverpool
   
   
     

Walter Sickert The Quai Duquesne and the Rue Notre Dame, Dieppe oil


The Quai Duquesne and the Rue Notre Dame, Dieppe
Painting ID::  3834
The Quai Duquesne and the Rue Notre Dame, Dieppe
1900 22" x 18.25" Private Collection
1900_ 22"_x_18.25" Private_Collection
   
   
     

Walter Sickert The Statue of Duquesne, Dieppe oil


The Statue of Duquesne, Dieppe
Painting ID::  3835
The Statue of Duquesne, Dieppe
1902 51.5" x 39.75" The City Art Gallery, Manchester
1902_ 51.5"_x_39.75" The_City_Art_Gallery,_Manchester
   
   
     

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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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