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Books : Arts & Photography : Artists, A-Z : ( S-U ) : Sickert, Walter
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This is the first publication devoted to Walter Sickert's remarkable group of paintings of female nudes produced in and around Camden Town between 1905 and 1912 and now considered to be among his most important and provocative works. Sickert challenged conventional idealized treatments of the nude by setting his female models in the murky interiors of cheap lodging houses, laid out on iron bedsteads, and painted with an uncompromising realism. His shabby interiors were unmistakable to contemporary viewers as the dark realms of London's poorest working classes and his nudes played unflinchingly to middle class fears of such "dens of iniquity," known as the notorious haunts of prostitutes, slum landlords, and petty criminals. But Sickert also stimulated middle-class fascinaton with such subjects, his keyhole vantage points implicating the viewer as a voyeuristic spectator. These concerns reached their most profound expression in his so-called "Camden Town Murder" paintings in which a clothed male figure is featured in the scene alongside the nude female.None of the authors accepts the arguments of Patricia Cornwell in Portrait of a Killer: Jack the Ripper, Case Closed (2002) that Walter Sickert was Jack the Ripper; this is a more considered approach to the same material.
Walter Sickert: Camden Town Nudes examines in detail more than fifteen of his most important canvases together with related drawings in order to chart his development of the subject during the period.
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This stunning book, written by Robert Upstone and published to accompany the exhibition at Dulwich Picture Gallery in March 2009 brings Sickerts Venice pictures together for the first time
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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.
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This study presents a catalogue of many of the known drawings and includes a photographic reproduction of the exhibition catalogues for the Carfax Gallery in 1911 and 1912. These documents, with sketches against each entry, enable scholars to establish the pictures original titles. Sickert frequently changed his titles and these catalogues throw light on both his initial intentions and on the impact of his titles on the reception of his work.
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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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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.
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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. He embraced formal portraiture and idyllic landscape, controversial domestic scenes (such as "Camden Town Murder"), and portrayals of public figures, the canals of Venice, the old streets of Dieppe and contemporary scenes of England in the 1930s. This publication is to coincide with, and serve as the catalogue of, a retrospective exhibition at the Royal Academy from November 1992 to February 1993.
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Walter Sickert (1860-1942), perhaps the most important and influential early modern British artist, completed an outstanding body of prints that have been little noticed until now. This catalogue raisonné brings together for the first time Sickert's 226 prints, many in rare or unique impressions, and discusses the artist's unorthodox techniques, the influences on his work, and the evolution of his printmaking career. Published for the Paul Mellon Centre for Studies in British Art
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The painter Walter Sickert was a man of contradictions: a radical reactionary, a reclusive socialite, a traditionalist and an innovator, a philanderer who believed in the sanctity of marriage, an internationalist grounded in the heart of the English school. In this superb biography, Matthew Sturgis provides the first fully documented account of Sickert’s long and colorful life, drawing on new sources to capture the spirit of a man whose influence remains visible in the work of artists today. Matthew Sturgis is the author of the acclaimed Aubrey Beardsley; he also writes regularly for THE TIMES LITERARY SUPPLEMENT.
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This digital document is an article from Epoca, published by Difusora de Informacion Periodica, S.A. (DINPESA) on April 13, 1998. The length of the article is 566 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Maestro y alumno.(los pintores británicos James McNeill Whistler y Walter Richard Sickert exhibirán sus obras en España)(TT: Teacher and student.)(TA: British painters James McNeill Whistler and Walter Richard Sickert will exhibit their work in Spain)
Publication: Epoca (Magazine/Journal)
Date: April 13, 1998
Publisher: Difusora de Informacion Periodica, S.A. (DINPESA)
Page: 66(1)
Distributed by Thomson Gale
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