All Walter Sickert 's Paintings
The Painting Names Are Sorted From A to Z


Choice ID Image  Paintings (From A to Z)       Details 
28194 Aubrey Beardsley  Aubrey Beardsley   1894 Oil on canvas 76.1 x 31 cm (30 x 12 1/4 in) Tate Gallery London (mk63)
23068 Bathers-Dieppe (nn02)  Bathers-Dieppe (nn02)   c.1902 Oil on canvas 51 3/4x41 1/8"
3843 Cicely Hey  Cicely Hey   1922-23 25.25" x 30.25" The British Council
3841 Ennui  Ennui   c1913 Tate Gallery, London
23070 Gatti's Hungerford Palace of Varieties Second Turn of Katie Lawrence (nn02)  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"
28468 Gatti's Hungerford Palace of Varieties:Second Turn of Katie Lawrence  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)
28193 George Moore  George Moore   1891 Oil on canvas 60.3 x 50.2 cm (23 3/4 x 19 3/4 in) Tate Gallery London (mk63)
60791 Henry Tonks.  Henry Tonks.   Henry Tonks. Sodales: Mr Steer and Mr Sickert, 1930.
3832 Interior of St Mark's, Venice  Interior of St Mark's, Venice   1896 27 1/2" x 19 3/8" Tate Gallery, London
3839 Jack Ashore  Jack Ashore   1911 13" x 16" Private Collection
3846 King George V and Queen Mary  King George V and Queen Mary   c1935 24.5" x 29.75" Private Collection
3836 La Giuseppina  La Giuseppina   1903-04 19" x 14.5" Private Collection
53938 La Hollandais  La Hollandais   mk234 1906 50x40cm
3837 La Hollandaise  La Hollandaise   1905 20" x 16" Private Collection
3845 Lazurus Breaks His Fast  Lazurus Breaks His Fast   1927 30" x 25" Private Collection
27105 Self-Portrait  Self-Portrait   mk52 1907 Watercolour and pastel on paper 75.3x60cm
3831 St Mark's Cathedral, Venice  St Mark's Cathedral, Venice   c1896 25" x 19" Private Collection
3838 The Juvenile Lead  The Juvenile Lead   1908 20" x 18" The Southampton Art Gallery, UK
3842 The New Bedford  The New Bedford   1915 30" x 15" The Tate Gallery, London
3840 The New Home  The New Home   c1912 20" x 16" Private Collection
3833 The Old Bedford  The Old Bedford   1897 30" x 23.75" The Walker Art Gallery, Liverpool
3834 The Quai Duquesne and the Rue Notre Dame, Dieppe  The Quai Duquesne and the Rue Notre Dame, Dieppe   1900 22" x 18.25" Private Collection
3835 The Statue of Duquesne, Dieppe  The Statue of Duquesne, Dieppe   1902 51.5" x 39.75" The City Art Gallery, Manchester
3844 Victor Lecour  Victor Lecour   1922-24 32" x 23.75" The City Art Gallery, Manchester
60790 Walter Sickert, The Camden Town Murder, originally titled,  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
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

http://www.chinaoilpainting.com

China Oil Painting Studio Team