Walter Sickert

. Sickert was a cosmopolitan and eccentric who favoured ordinary people and urban scenes as his subjects.

Life and work

Walter Sickert's father, Oswald Sickert, was a Danish-German artist [ [http://www.fada.com/browse_by_artist.html?gallery_no=30&artist=4886&bio=1 Oswald Sickert biography, FADA] ] and his mother Eleanor was the illegitimate daughter of astronomer Richard Sheepshanks. The family left Munich to settle in England at the time of the Great Exhibition, Oswald's work having been recommended by Freiin Rebecca von Kreusser to Ralph Nicholson Wornum, who was Keeper of the National Gallery at the time. [ [http://www.nationalarchives.gov.uk/catalogue/displaycataloguedetails.asp?CATLN=7&CATID=-4126413&j=1 British National Archives] ] The young Sickert was sent to University College School from 1870-1871 before transferring to King's College School, Wimbledon, where he studied until the age of 18. Though he was the son and grandson of painters, he at first sought a career as an actor; he appeared in small parts in Sir Henry Irving's company, before taking up the study of art as assistant to James McNeill Whistler. He later went to Paris and met Edgar Degas, whose use of pictorial space and emphasis on drawing would have a powerful effect on Sickert's own work.

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". [Baron and Shone, 1992, p. 57.] 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 café-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.

Just before World War I he championed the avant-garde artists Lucien Pissarro, Jacob Epstein, Augustus John and Wyndham Lewis. At the same time he founded, with other artists, the Camden 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 by Post-Impressionism and Expressionism, but concentrated on scenes of often drab suburban life; Sickert himself said he preferred the kitchen to the drawing room as a scene for paintings. [Baron and Shone, 1992, p. 156.] Sickert regularly portrayed figures placed ambiguously on the borderland between respectability and poverty. From 1908-1912 and again from 1915-1918 Sickert was an influential teacher at Westminster School of Art.

On 11 September 1907, Emily Dimmock, a part-time prostitute cheating on her partner, was murdered in her home at Agar Grove (then St Paul's Road), Camden, having gone there from the The Eagle public house, Royal College Street. After sex, the man had slit her throat open while she was asleep, then left in the morning. The murder became an ongoing source of prurient sensationalism in the press. 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 title, "The 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 being "What Shall We Do for the Rent?", and the first in the series, "Summer Afternoon".

These and other works were painted in heavy impasto and narrow tonal range. Many other obese nudes were painted at this time, in which the fleshiness of the figures is connected to the thickness of the paint, devices that were later adapted by Lucian Freud.

Sickert's interest in Victorian narrative genres also influenced his best known work, "Ennui", in which a couple in a dingy interior gaze abstractedly into empty space, as though they can no longer communicate with each other. In his later work Sickert adapted illustrations by Victorian artists such as Georgie Bowers and John Gilbert, taking the scenes out of context and painting them in poster-like colours so that the narrative and spatial intelligibility partly dissolved. He called these paintings his "Echoes". [Morphet et al., 1981, pp. 102-103.] Sickert also executed a number of works in the 1930s based on news photographs, squared up for enlargement, with their pencil grids plainly visible in the finished paintings. Seen by many of his contemporaries as evidence of the artist's decline, these works are also the artist's most forward-looking, seeming to prefigure the practices of Chuck Close and Gerhard Richter. [Schwartz, Sanford, 2002, "The Master of the Blur", "The New York Review of Books", April 11, 2002, p. 16.]

He is considered an eccentric figure of the transition from Impressionism to modernism, and as an important influence on distinctively British styles of avant-garde art in the 20th century.

One of Sickert's closest friends and supporters was newspaper baron Lord 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 the Beaverbrook Art Gallery in Fredericton, New Brunswick, Canada.

Sickert's sister was Helena Swanwick, a feminist and pacifist active in the women's suffrage movement.

Sickert was married three times. His first wife Ellen was a daughter of Richard Cobden. His third wife was the painter Thérèse Lessore. [ "Portrait of the artist reveals a great eccentric" - a review by Richard Shone of Matthew Sturgis's biography "Walter Sickert: A Life"; Weekend Australian, 12-13 March, 2005.]

Jack the Ripper

Sickert was interested in the Jack the Ripper crime and believed that he had lodged in the room used by the infamous serial killer, having been told this by his landlady, who suspected a previous lodger. He painted the room, entitling it "Jack the Ripper's bedroom," portraying it as a dark, brooding, almost unintelligible space. The painting is in Manchester City Art Gallery. [ [http://www.manchestergalleries.org/the-collections/search-the-collection/display.php?EMUSESSID=0dda029b93c619fcb42ba5d6d3b09920&irn=8432] /]

In 1976, Stephen Knight's ' contended that Sickert had been forced to take part as an accomplice in the Ripper murders. His information was derived from Joseph Sickert, who claimed to be Sickert's illegitimate child. From this developed a popular conspiracy theory, which accuses royalty and freemasonry of complicity in the crimes. Jean Overton Fuller, in "Sickert and the Ripper Crimes" (1990), claimed that Sickert was the actual killer. In 2002, crime novelist Patricia Cornwell, in ', presented her theory that Sickert was responsible for the murders, one of the motivating factors being a defect in his penis. Cornwell purchased 31 of Sickert's paintings and destroyed one or more of them searching for his DNA.Gibbons, Fiachra. [http://books.guardian.co.uk/news/articles/0,,615448,00.html "Does this painting by Walter Sickert reveal the identity of Jack the Ripper?"] , "The Guardian", 8 December 2001. Retrieved 13 September 2008.] Sickert specialists viewed Cornwell's theory with derision.

See also

* Painting the Century 101 Portrait Masterpieces 1900-2000
* Camden Town Group

Notes

Bibliography

*Browse, Lillian (1960). "Sickert". London: Rupert Hart-Davis.
*Baron, Wendy; Shone, Richard, et al. (1992). "Sickert Paintings". New Haven and London: Yale University Press. ISBN 0-300-05373-8
*Morphet, Richard, et al. (1981). "Late Sickert: Paintings 1927 to 1942". London: Arts Council of Great Britain. ISBN 0-7287-0301-7
*Shone, Richard; Curtis, Penelope (1988). "W R Sickert: Drawings and Paintings 1890-1942". Liverpool: Tate Gallery. ISBN 1-85437-008-1
*Sitwell, Osbert, editor (1947). "A Free House! or the artist as craftsman: Being the Writings of Walter Richard Sickert" (Macmillan & co., London).
*Sturgis, Matthew (2005). "Walter Sickert: A Life". The latest biography of Sickert - in the final chapter Sturgis refutes the notion that Sickert was Jack the Ripper, but also claims that if Sickert were still alive he would enjoy his current notoriety.
*Upstone, Robert (2008). "Modern Painters: The Camden Town Group", exhibition catalogue, Tate Britain, London, 2008 ISBN-10: 1854377817

External links

* [http://www.wetcanvas.com/Museum/Artists/s/Walter_Sickert/ Biography of Walter Sickert]
* [http://www.artcyclopedia.com/feature-2002-11.html "Cornwell v. Sickert: Portrait of the Artist as a Serial Killer"] by Joseph Phelan, argues against Cornwell's theories and notes her failing to mention the influence of Degas on Sickert.
* [http://www.casebook.org/dissertations/dst-pamandsickert.html Casebook: Jack the Ripper - Patricia Cornwell and Walter Sickert: A Primer] disputes Cornwell's claims.
* [http://casebook.org/suspects/knight.html Casebook: Jack the Ripper - The Royal Conspiracy] disputes Knight's theory.
* [http://www.liverpoolmuseums.org.uk/walker/collections/20c/Sickert.asp 'Bathers, Dieppe' (1902)]