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



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