Walter Sickert | |
|---|---|
.jpg) Portrait byGeorge Charles Beresford, 1911 | |
| Born | (1860-05-31)31 May 1860 |
| Died | 22 January 1942(1942-01-22) (aged 81) |
| Resting place | Church of St Nicholas, Bathampton |
| Nationality | British |
| Alma mater | University College School King's College School |
| Known for | Painting |
| Notable work | |
| Movement | Post-Impressionism |
| Spouses | |
| Elected | |
Walter Richard Sickert (31 May 1860 – 22 January 1942) was a German-born British painter and printmaker who was a member of theCamden Town Group ofPost-Impressionist artists in early 20th-centuryLondon. He was an important influence on distinctively British styles of avant-garde art in the mid and late 20th century.
Sickert was a cosmopolitan and an eccentric who often favoured ordinary people and urban scenes as his subjects. His work includes portraits of well-known personalities and images derived from press photographs. He is considered a prominent figure in the transition fromImpressionism toModernism.
Decades after his death, several authors and researchers theorised that Sickert might have been the London-basedserial killerJack the Ripper, but the claim has largely been dismissed.
Sickert was born inMunich,Kingdom of Bavaria, on 31 May 1860, the eldest son ofOswald Sickert, aDanish artist, and his English wife, Eleanor Louisa Henry, who was the illegitimate daughter of the astronomerRichard Sheepshanks.[1] In 1868, following theGerman annexation of Schleswig-Holstein, the family settled in England,[2] where Oswald's work had been recommended by Freiherrin Rebecca von Kreusser toRalph Nicholson Wornum, who was Keeper of theNational Gallery at the time.[3] The family eventually settled in London and obtained British nationality.[2]
The young Sickert was sent toUniversity College School from 1870 to 1871, before transferring toKing's College School, where he studied until the age of 18. Though he was the son and grandson of painters, he first sought a career as an actor; he appeared in small parts in SirHenry Irving's company, before taking up the study of art in 1881. After less than a year's attendance at theSlade School, Sickert left to become a pupil of andetching assistant toJames Abbott McNeill Whistler.[4] Sickert's earliest paintings were small tonal studies paintedalla prima from nature after Whistler's example.[5]
In 1883 he travelled to Paris and metEdgar Degas, whose use of pictorial space and emphasis on drawing would have a powerful effect on Sickert's work.[5] "Degas provided the counterweight to Whistler, and one which was eventually to prove the more significant for Sickert's development."[6] He developed a personal version ofImpressionism, favouring sombre colouration. Following Degas' advice, Sickert painted in the studio, working from drawings and memory as an escape from "the tyranny of nature".[5] In 1888 Sickert joined theNew English Art Club, a group ofFrench-influencedrealist artists. Sickert's first major works, dating from the late 1880s, were portrayals of scenes in Londonmusic halls.[7] One of the two paintings he exhibited at the NEAC in April 1888,Katie Lawrence at Gatti's, which portrayed a well known music hall singer of the era, incited controversy "more heated than any other surrounding an English painting in the late 19th century".[8] Sickert's rendering was denounced as ugly and vulgar, and his choice of subject matter was deplored as too tawdry for art, as female performers were popularly viewed as morally akin to prostitutes.[9] The painting announced what would be Sickert's recurring interest in sexually provocative themes.
In the late 1880s he spent much of his time in France, especially inDieppe, which he first visited in mid-1885, and where his mistress, and possibly his illegitimate son, lived. During this period Sickert began writing art criticism for various publications, includingHerbert Vivian andRuaraidh Erskine'sThe Whirlwind.[10] Between 1894 and 1904, Sickert made a series of visits toVenice, initially focusing on the city's topography; it was during his last painting trip in 1903–04 that, forced indoors by inclement weather, he developed a distinctive approach to the multiple-figure tableau that he further explored on his return to Britain.[11] The models for many of the Venetian paintings are believed to have been prostitutes, whom Sickert might have known through being a client.[12]
Sickert's fascination with urban culture accounted for his acquisition of studios in working-class sections of London, first inCumberland Market in the 1890s, then inCamden Town in 1905.[13] The latter location provided an event that would secure Sickert's prominence in the realist movement in Britain.[14]
On 11 September 1907, Emily Dimmock, a prostitute cheating on her partner, was murdered in her home at Agar Grove (then St Paul's Road), Camden. After sexual intercourse the man had slit her throat open while she was asleep, then left in the morning.[15] TheCamden Town murder became an ongoing source of prurient sensationalism in the press.[15] For several years Sickert had already been painting lugubrious female nudes on beds, and continued to do so, deliberately challenging the conventional approach to life painting—"The modern flood of representations of vacuous images dignified by the name of 'the nude' represents an artistic and intellectual bankruptcy"—giving four of them, which included a male figure, the titleThe Camden Town Murder, and causing a controversy which ensured attention for his work. These paintings do not show violence, however, but a sad thoughtfulness, explained by the fact that three of them were originally exhibited with completely different titles, one more appropriately beingWhat Shall We Do for the Rent?, and the first in the series,Summer Afternoon.[15]
While the painterly handling of the works inspired comparison to Impressionism, and the emotional tone suggested a narrative more akin to genre painting, specifically Degas'sInterior,[16] the documentary realism of theCamden Town paintings was without precedent in British art.[17] These and other works were painted in heavyimpasto and narrow tonal range. Sickert's best-known work,Ennui (c. 1914), reveals his interest in Victorian narrative genres. The composition, which exists in at least five painted versions and was also made into an etching, depicts a couple in a dingy interior gazing abstractedly into empty space, "psychologically estranged from one another".[18]
Just before theFirst World War he championed the avant-garde artistsLucien Pissarro,Jacob Epstein,Augustus John andWyndham Lewis. At the same time Sickert founded, with other artists, theCamden Town Group of British painters, named from the district of London in which he lived. This group had been meeting informally since 1905, but was officially established in 1911. It was influenced byPost-Impressionism andExpressionism, but concentrated on scenes of often drabsuburban life; Sickert himself said he preferred the kitchen to the drawing room as a scene for paintings.[19]
From 1908 to 1912, and again from 1915 to 1918, he was an influential teacher atWestminster School of Art, whereDavid Bomberg,Wendela Boreel,Mary Godwin[20] andJohn Doman Turner were among his students. He founded a private art school, Rowlandson House, in the Hampstead Road in 1910.[21] It lasted until 1914; for most of that period its co-principal and chief financial supporter was the painterSylvia Gosse, a former student of Sickert.[22] He also briefly set up an art school in Manchester where his students includedHarry Rutherford.[21]
After the death of his second wife in 1920, Sickert relocated toDieppe, where he painted scenes of casinos and café life until his return to London in 1922. In 1924, he was elected an Associate of theRoyal Academy (ARA).
In 1926 he suffered an illness, thought to have been a minor stroke.[23] In 1927, he abandoned his first name in favour of his middle name, and thereafter chose to be known as Richard Sickert.[24] His style and subject matter also changed: Sickert stopped drawing, and instead painted from snapshots usually taken by his third wife,Thérèse Lessore, or from news photographs. The photographs were squared up for enlargement and transferred to canvas, with their pencil grids plainly visible in the finished paintings.
Seen by many of his contemporaries as evidence of the artist's decline, Sickert's late works are also his most forward-looking, and prefigure the practices ofChuck Close andGerhard Richter.[25] Other paintings from Sickert's late period were adapted from illustrations by Victorian artists such as Georgie Bowers andJohn Gilbert. Sickert, separating these illustrations from their original context and painting them in poster-like colours so that the narrative and spatial intelligibility partly dissolved, called the resulting works his "English Echoes".[26]
Sickert painted an informal portrait ofWinston Churchill in about 1927.[27] Churchill's wifeClementine introduced him to Sickert, who had been a friend of her family. The two men got along so well that Churchill, whose hobby was painting, wrote to his wife that "He is really giving me a new lease of life as a painter."[28]
Sickert tutored and mentored students of theEast London Group, and exhibited alongside them atThe Lefevre Gallery in November 1929.
Sickert made his last etching in 1929.[29]
Sickert was President of theRoyal Society of British Artists from 1928 to 1930.[30] He became a Royal Academician (RA) in March 1934 but resigned from the Academy on 9 May 1935 in protest against the president's refusal to support the preservation ofJacob Epstein's sculptural reliefs on theBritish Medical Association building in the Strand.[31] In the last decade of his life, he depended increasingly on assistants, especially his wife, for the execution of his paintings.[32]
One of Sickert's closest friends and supporters was newspaper baronLord Beaverbrook, who accumulated the largest single collection of Sickert paintings in the world. This collection, with a private correspondence between Sickert and Beaverbook, is in theBeaverbrook Art Gallery inFredericton,New Brunswick, Canada. In addition to having painted Beaverbrook, Sickert painted portraits of notables includingGwen Ffrangcon-Davies,Hugh Walpole,Valentine Browne, 6th Earl of Kenmare, and less formal depictions ofAubrey Beardsley,King George V, andPeggy Ashcroft.
Sickert married three times: toEllen Melicent Cobden, a daughter ofRichard Cobden from 1885 until their divorce in 1899; toChristine Angus from 1911 until her death in 1920; and to the painter Thérèse Lessore from 1926 until his death.[33]
Sickert's sister wasHelena Swanwick, afeminist andpacifist active in thewomen's suffrage movement. His younger brother, Bernard Sickert (1863–1932), was also a professional artist.[34]
Sickert died inBath, Somerset in 1942, at the age of 81. He had spent much time in the city in his later years, and many of his paintings depict Bath's varied street scenes. He is buried in the churchyard of theChurch of St Nicholas, Bathampton.
For his earliest paintings, Sickert followed Whistler's practice of rapid, wet-in-wet execution using very fluid paint. He subsequently adopted a more deliberate procedure of painting pictures in multiple stages, and "attached a great deal of importance to what he called the 'cooking' side of painting".[35] He preferred to paint not from nature but from drawings or, after the mid-1920s, from photographs or from popular prints by Victorian illustrators.[36] After transferring the design to canvas by the use of a grid, Sickert made a rapid underpainting using two colours, which was allowed to dry thoroughly before the final colours were applied. He experimented tirelessly with the details of his method, always with the goal, according to his biographer Wendy Baron, of "paint[ing] quickly, in about two sittings, with the maximum economy and minimum of fuss".[37]
Sickert tended to paint his subjects in series.[38] He is identified particularly with domestic interior scenes, scenes of Venice, music hall and theatre scenes, and portraits. He painted fewstill lifes. For his music hall subjects, Sickert often chose 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.[39] 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 decorativearabesques and flattened the three-dimensional space. His music hall pictures, like Degas' paintings of dancers and café-concert entertainers, connect the artificiality of art itself to the conventions of theatrical performance and painted backdrops.
Sickert often professed his distaste for what he termed the "beastly" character of thickly textured paint.[31] In an article he wrote forThe Fortnightly Review in 1911, he described his reaction to the paintings ofVan Gogh: "I execrate his treatment of the instrument I love, these strips of metallic paint that catch the light like so many dyed straws ... my teeth are set on edge".[31] In response toAlfred Wolmark's work he declared that "thick oil-paint is the most undecorative matter in the world".[40]
Nonetheless, Sickert's paintings of theCamden Town Murder series ofc. 1906–1909 were painted in heavy impasto and narrow tonal range, as were numerous other obese nudes in the pre-World War I period in which the fleshiness of the figures is connected to the thickness of the paint—a device that was later adapted byLucian Freud. The influence of these paintings on successive generations of British artists has been noted in the works of Freud,David Bomberg,Francis Bacon,Frank Auerbach,Howard Hodgkin, andLeon Kossoff.[41]
In the 1910s and 1920s, the dark, gloomy tones of his early paintings gradually brightened,[38] and Sickert juxtaposed unexpected tones with a new boldness in works such asBrighton Pierrots (1915) andPortrait of Victor Lecourt (1921–24). His several self-portraits usually displayed an element of role-playing consistent with his early career as an actor:Lazarus Breaks his Fast (c. 1927) andThe Domestic Bully (c. 1935–38) are examples. Sickert's late works display his preference for thinly scrubbed veils of paint, described by Helen Lessore as "a cool colour rapidly brushed over a warm underpainting (or vice versa) on a coarse canvas and in a restricted range allow[ing] the undercoat to 'grin through'".[42]
Sickert insisted on the importance of subject matter in art, saying that "all the greater draughtsmen tell a story",[31] but treated his subjects in a detached manner.Max Kozloff wrote: "How not to say too much seems to have become a matter of utmost laborious concern for Sickert", as evidenced by his paintings' studied lack of finish and "neurasthenic sobriety" of color.[43] According to the painterFrank Auerbach, "Sickert's detachment became increasingly evident in his uninhibited procedures. He made obvious his frequent reliance on snapshots and press photographs, he copied, used and took over the work of other, dead, artists and made extensive use, also, of the services of his assistants who played a large and increasing part in the production of his work."[44]
Sickert took a keen interest in the crimes ofJack the Ripper and believed he had lodged in a room used by the notoriousserial killer. He had been told this by his landlady, who suspected a previous lodger who stayed there in 1881. Sickert did a painting of the room in 1905–1907 and titled itJack the Ripper's Bedroom (Manchester Art Gallery). It shows a dark, melancholy room with most details obscured.[46] It suggests his morbid interest in the subject.
Although for over 80 years there was no mention of Sickert being a suspect in the Ripper crimes, in the 1970s authors began to explore the idea that Sickert was Jack the Ripper or his accomplice. Sickert is not considered a serious suspect by most who study the case, and strong evidence shows he spent most of 1888 outside the UK,[47] and was in France at the time of most of the Ripper murders.[48][49][50]
Walter Sickert's personal papers are held atIslington Local History Centre.[51] Additional papers are held at several other archives, particularly theTate Gallery Archive.[52] The Walker Art Gallery holds the largest collection of his drawings, a total of 348.[53]
In 2021–2022, a retrospective exhibitionSickert: A Life in Art at theWalker Art Gallery, Liverpool, displayed around 100 of Sickert's paintings and 200 drawings, claiming to be the largest retrospective of the artist's work to have been held in the UK for more than 30 years.[54] The art criticJonathan Jones noted: "This baffling man who was born in Munich in 1860, emigrated to Britain as a child and became one of our greatest and weirdest artists, emerges in this excellent show as even odder than I thought. In that unsettling way of seeing lies his modernity."[47]
From 28 April to 18 September 2022,Tate Britain staged the first major Sickert retrospective atTate in over 60 years, featuring over 150 of his works from over 70 public and private collections, and claiming to be the most extensive retrospective in almost 30 years. The exhibition was organised in collaboration with thePetit Palais,Paris, where it is expected to be displayed between late 2022 and 2023.[55] Jonathan Jones observed, "This hellishly brilliant exhibition takes you to a place beyond simple moral or political truth. Whatever Sickert was, he was the only British artist of his time who can be as powerful as Munch, Van Gogh or Otto Dix."[56]
| International | |
|---|---|
| National | |
| Artists | |
| People | |
| Other | |