Walter Richard Sickert (1860-1942) was a major European artist and critic of the late nineteenth and early twentieth century, whose statements on art from the 1880s to the 1930s have been used by artists and writers for more than half a century. Containing over 400 entries, this collection offers new insight into Sickert as an artist and provides valuable information about other British artists of the late nineteenth and early twentieth centuries.
Walter Richard Sickert (1860-1942) was an artist of prodigious creativity. For sixty years, in his roles as painter, teacher, and polemicist, he was a source of inspiration and influence to successive generations of British painters. With his roots in the Victorian era, Sickert broke all taboos. He was uncompromisingly truthful, revealing beauty in the squalid as in the sublime: in cockney music halls, the crumbling streets of Dieppe, the grand sites of Venice, and the low-life of Camden Town. Decades before Warhol, he exploited the potential of photo-based imagery and of studio production lines to create iconic portraits of the grandees of theatrical, social, and political life. This catalogue is divided into two parts: essay chapters describe Sickert's chronology in terms of stylistic and technical development, and a fully illustrated catalogue presents more than 2800 drawings and paintings, many of which have never been published before.
Walter Sickert (1860-1942), a British painter, is famous for his depictions of the music hall, its artistes, audience and elaborate interiors and also for his views of Venice and Dieppe. Long regarded as simply a follower of the Impressionists, he has now come to be seen to have strong affinities with a wide range of artists from Hogarth to Keene, from 19th-century German illustrators to Rouault and Munch.
Walter Sickert, the prominent English post-Impressionist painter, was also a unique and highly perceptive writer about a wide variety of matters connected to the world of art. His pungent and vivid reflections range from long meditations on Whistler’s work and influence to the medium of etching, to explorations into the work of such artists as Manet, Cézanne, Doré, Pissarro, and many others. This book has all the honesty and lucid observation that mark only the essential artists’ documents. A Free House was collected and edited by Sir Osbert Sitwell, who also provides an unforgettably comic, razor-sharp introductory memoir of the painter and his works.
Walter Sickert (1860-1942) was a leading figure in the development of British painting and the graphic arts. Influenced by Whistler and Degas early in his career, by 1914 he was respected as a major figure within the Camden Town Group and a renowned painter in his own right. Yet Sickert's life and art were never stable, and he was never complacent. His work varies strikingly--from a strongly worked paint surface laden with impasto to the thinnest and sparest application; from an overtly modern set of subjects to apparently nostalgic images. But whatever form his art took, Sickert always remained what he was so often called in the 1910s: "a painter's painter." This study examines the dynamism of Sickert's work from his earliest career at the Slade School of Art to his last works. It argues for Sickert as a major figure in the history of attempts to record modern life and to develop a distinctly modern mode of painting.
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