Posts Tagged ‘British artist

19
Jun
22

Exhibition: ‘Walter Sickert’ at Tate Britain, London

Exhibition dates: 2nd May – 18th September 2022

Curators: The exhibition is curated by Emma Chambers (Curator, Modern British Art, Tate Britain), Caroline Corbeau-Parsons (Curator of Drawings / Conservatrice des Arts Graphiques at Musée d’Orsay) and former Curator, British Art, 1850-1915 at Tate Britain), the late Delphine Lévy (former Executive Director, Paris Musées) and Thomas Kennedy (Assistant Curator, Modern British Art, Tate Britain).

 

 

Walter Richard Sickert (British, 1860-1942) 'The Red Shop (or The October Sun)' c. 1888

 

Walter Richard Sickert (British, 1860-1942)
The Red Shop (or The October Sun)
c. 1888
Oil on canvas
Norwich Castle Museum & Art Gallery, Norfolk Museums Service

 

 

I believe that Walter Sickert is an interesting and boundary pushing artist – but I remain ambivalent as to whether I like this attention seeking European modernist, this “self-proclaimed realist and literary painter with an interest in narrative” with his penchant for working-class urban culture and its “dank land of rented rooms, sickly streets and gaslit pubs,” its opium dens, street gangs and prostitutes, its black fogs and murders.

On the one hand I like the chthonic [relating to or inhabiting the underworld] darkness of his paintings, and their earthiness and essentialness, for Sickert is a chthonic deity [from Greek khthōn ‘earth’] grounded in the earth. His self-portraits appear as dark, almost eyeless creatures metastasizing from the Stygian gloom like a London pea souper fog – black fog, black dog examinations of the inner self interpreted as performances of identity. His paintings of the ghouls in the galleries at theatres are masterful in their use of colour, light and form – soaring to the heavens or buried like children in a mine, as in The Gallery at the Old Mogul (1906, below).

I am much less certain about other elements of his painting, such as the objectification of women in the numerous nudes, laid out for the viewers delectation. As Jonathan Jones observes,

“These are truly shocking images, more than a century on. Yet they have affinities with some of the greatest modern art, as the exhibition demonstrates. Sickert was strongly influenced by Degas, and in turn influenced Lucian Freud – there are nudes here by both for comparison.

The most appalling aspects of Sickert’s nudes are also their artistic strength. He rejects the phoney academic nude for raw naked reality – he even wrote an essay explaining this aesthetic. This is why he depicts women, more literally perhaps than any artist, as objects: because the body is an object, it is meat. Francis Bacon would agree with him.”1

.
Francis Bacon would of course agree with him, but there is an essential difference… Bacon was a male dissecting male bodies; in Sickert’s fantasy world of murder and voyeurism, it is the male gaze looking at a disempowered and dismembered female body and his paintings “are shot through with suppressed malevolence – a horrible aura of voyeurism, encroachment or outright violence.” While the nude paintings can be seen as essential and earthy 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” –  the energy which emanates from these paintings is perverse, like a butcher selling putrid meat which gives off a fecund but malodorous smell. According to Australian artist Elizabeth Gertsakis, there is a deep psychopathology present in Sickert’s work: “there are no ‘souls’ in Sickert’s art, nor is there redemption. There is despair, degeneracy and a kind biblical vengeance without the costume-play of the Testaments.”2

Finally, the late photo-based paintings from the late 1920s and 30s which would have astounded at the time of their creation, today feel frozen and stilted – the beginning of pastiche painting which lives on in the contemporary portraiture of Australia’s Archibald prize for example, where “we see the usual clumsily drawn figures; the usual ‘kooky’ whimsy; the usual ham-fisted, photo-based ‘realism’ (always the last bastion for the conceptually limited painter!). All of them dead in the water before they are even unwrapped for the scrutiny of the dull-eyed panel. Before they have even left the easel, in fact.”3 As Steve Cox observes, portrait ‘Painting’ become portrait ‘Illustration’ blossomed into its full-blown, grotesque, nadir.

Nevertheless, there are moments of sublime ecstasy in some of Sickert’s realist, narrative elegies: the red dress of Minnie Cunningham at the Old Bedford (1892, below); the “dynamic evocation of the local fair in Dieppe” with its background “enriched with acidic greens, lurid yellows and vivid scarlets” in The Fair at Night (c. 1902-1903, below); the gold decoration of the arch in The Horses of St Mark’s, Venice (c. 1901-1906, below); and the poignancy of the emaciated figure that is Aubrey Beardsley (1894, below), a haunting appearance suggested by the deftest and most skilful application of paint in search of a soul that you are ever likely to see.

Dr Marcus Bunyan

 

  1. Jonathan Jones. “Walter Sickert review – serial killer, fantasist or self-hater? This hellish, brilliant show only leaves questions,” on The Guardian website Tue 26 Apr 2022 [Online] Cited 15/05/2022
  2. Elizabeth Gertsakis in conversation with Marcus Bunyan 19/06/2022
  3. Steve Cox. “Thoughts on the Anti-Art Event, the Archibald Prize,” on Facebook May 7, 2022 [Online] Cited 18/06/2022

.
Many thankx to Tate Britain for allowing me to publish the media images in the posting. Please click on the photographs for a larger version of the image.

 

Discover the boundary-pushing paintings by one of Britain’s most influential artists

Walter Sickert is recognised as one of the most important artists of the 20th century, having helped shape modern British art as we know it. With ties to renowned painters from James Abbott McNeill Whistler to Edgar Degas, he strengthened the artistic connections between Britain and France and continues to influence contemporary painters to this very day.

The first major retrospective of Sickert at Tate in over 60 years, this exhibition explores how he had an often radical, distinctive approach to setting and subject matter. From working off detailed sketches to taking inspiration from news photography, these were the tools he used to depict his vision of everyday life.

A former actor, he had a flair and fascination for all things theatrical, including performers in music halls crafted on canvas, and nude portraits staged in intimate, domestic settings. His imagination was also fuelled by current events including the rise of celebrity culture, and he used this to create compelling narratives.

Much like the man, his art was complex. Creative and colourful, his body of work was ever-changing and can be interpreted in different ways. His own self-portraits, for example, showcase how he evolved throughout his career – from his beginnings as an actor and artistic apprentice, to becoming one of the most gifted and influential artists of his time.

 

 

This sense of a narrative runs against the grain of what has come to be construed as ‘modern’ in modern art. But Sickert insisted that ‘All the great draughtsmen tell a story’.16 He maintained that no country could have a great school of painting when the unfortunate artist was confined ‘to the choice between the noble site as displayed in the picture-postcard, or the quite nice young person, in what Henry James has called a wilderness of chintz’.17 He was a self-proclaimed realist and literary painter with an interest in narrative and an obsession with facture [i.e. the quality of the execution of a painting; an artist’s characteristic handling of the paint]. (He called it ‘the cooking side of painting’.18) He did not believe in severing subject and treatment:

“Is it not possible that this antithesis is meaningless, and that the two things are one, and that an idea does not exist apart from its exact expression? … The real subject of a picture or a drawing … and all the world of pathos, of poetry, of sentiment that it succeeds in conveying, is conveyed by means of the plastic facts expressed … If the subject of a picture could be stated in words there had been no need to paint it.”

.
It is in this sense – rather than in any quibbling as to the recorded details of Emily Dimmock’s murder in 1907 – that Sickert’s paintings are not illustrations. They cannot be decanted into words. And they do not use the available ‘language’ of illustration for sensational events, evident in the depictions of the Camden Town Murder in such publications as the Illustrated Police Budget and News.20 But their subject matters.

.
Walter Sickert, ‘The Language of Art’, New Age, 28 July 1910, quoted in Osbert Sitwell (ed.), A Free House! or The Artist as Craftsman: Being the Writings of Walter Richard Sickert, Macmillan, London 1947, p. 89 in Lisa Tickner. “Walter Sickert: The Camden Town Murder and Tabloid Crime,” on the Tate website Nd [Online] Cited 17/05/2022

 

 

Walter Richard Sickert (British, 1860-1942) 'The Juvenile Lead (Self Portrait)' 1907

 

Walter Richard Sickert (British, 1860-1942)
The Juvenile Lead (Self Portrait)
1907
Oil on canvas
Southampton City Art Gallery

 

Walter Richard Sickert (British, 1860-1942) 'Self-portrait' c. 1896

 

Walter Richard Sickert (British, 1860-1942)
Self-portrait
c. 1896
Oil on canvas
Leeds Art Gallery
© Bridgeman images

 

Walter Richard Sickert (British, 1860-1942) 'Self Portrait: The Bust of Tom Sayers' c. 1913-1915

 

Walter Richard Sickert (British, 1860-1942)
Self Portrait: The Bust of Tom Sayers
c. 1913-1915
Oil on canvas
The Ashmolean Museum, University of Oxford

 

 

Walter Sickert | Trailer | Tate

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at left, Little Dot Hetherington at the Bedford Music Hall 1888-1889 below; at and right, The P.S. Wings in the O.P. Mirror c. 1888-1889 below

 

Walter Richard Sickert (British, 1860-1942) 'Little Dot Hetherington at the Bedford Music Hall' 1888-1889

 

Walter Richard Sickert (British, 1860-1942)
Little Dot Hetherington at the Bedford Music Hall
1888-1889
Oil on canvas
Private collection
Photo: James Mann

 

Walter Richard Sickert (British, 1860-1942) 'The P.S. Wings in the O.P. Mirror' c. 1888-1889

 

Walter Richard Sickert (British, 1860-1942)
The P.S. Wings in the O.P. Mirror
c. 1888-1889
Oil on canvas
Rouen, Musée des Beaux-Arts

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at left, Edgar Degas’ The Ballet Scene from Giacomo Meyerbeer’s opera “Robert le Diable” 1876, below; and at right, Little Dot Hetherington at the Bedford Music Hall 1888-1889 above

 

Edgar Degas (French, 1834-1917) 'The Ballet Scene from Giacomo Meyerbeer's opera "Robert le Diable"' 1876

 

Edgar Degas (French, 1834-1917)
The Ballet Scene from Giacomo Meyerbeer’s opera “Robert le Diable”
1876
Height: 76.6cm (30.1 in)
Width: 81.3cm (32 in)
Victoria and Albert Museum
Public domain

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at left, Gallery of the Old Bedford 1894-1895 below; at second left, Noctes Ambrosianae, Gallery of the Old Mogul 1906-1907 below; and at fourth left, The Gallery at the Old Mogul 1906 below

 

Walter Richard Sickert (British, 1860-1942) 'Gallery of the Old Bedford' 1894-1895

 

Walter Richard Sickert (British, 1860-1942)
Gallery of the Old Bedford
1894-1895
Oil on canvas
Purchased by the Walker Art Gallery in 1947

 

Walter Richard Sickert (British, 1860-1942) 'Noctes Ambrosianae, Gallery of the Old Mogul' 1906-1907

 

Walter Richard Sickert (British, 1860-1942)
Noctes Ambrosianae, Gallery of the Old Mogul
1906-1907
Oil on canvas
63.7 x 76.6cm
Birmingham Museums Trust
Purchased 1949

 

Walter Richard Sickert (British, 1860-1942) 'The Gallery at the Old Mogul' 1906

 

Walter Richard Sickert (British, 1860-1942)
The Gallery at the Old Mogul
1906
Oil on canvas
63.5 x 67cm

 

 

Walter Sickert’s The Gallery at the Old Mogul is thought to be one of the earliest paintings in the world of a cinematic performance. Early press descriptions prove that the original title of the picture was Cinematograph and shows a film screening of a Western.

Before the existence of purpose built cinemas, films were often shown in music halls as part of the evening’s entertainment. ‘The Old Mogul’ was the original name for the Middlesex Music Hall in Drury Lane, remodelled and renamed in the 1870s, and variously known as ‘the Mogul Tavern’, ‘the Old Mo’, and ‘the Old Middlesex’. The present work was painted soon after Sickert’s return to London in 1906, at a time when Sickert was rediscovering his fascination for music-hall subjects. ‘I have started many beautiful music-hall pictures. I go to the Mogul Tavern every night, Sickert wrote to Jacques-Émile Blanche in 1906. Related works of the same subject include Noctes Ambrosianae painted in the same year and four related drawings in the Walker Art Gallery Liverpool and Aberdeen Art Gallery. …

Sickert’s inspiration for depicting new forms of entertainment such as cinema performances stemmed partly from French artists, including Degas’ depictions of Parisian Café Concerts and theatres. Sickert, however, was one of the first artists to examine scenes of popular entertainment in a British art context. Unlike Degas, the focus is less on the performance – or in this case screening – and more on the relationship of the audience to the show. This method was developed in Sickert’s earliest entertainment works such as the Old Bedford Gallery pictures of the 1890s [above], which like the present work choose to focus on the audience from behind, inviting the viewer to feel at once a part of the spectacle and yet distant from the subjects. This tool was partly borrowed by Sickert from French Impressionist works such as Manet’s Un bar aux Folies Bergère, where the viewer is made to feel like they are ordering a drink at a bar but is unable to witness the full transaction. Sickert’s ability to create this ambiguity allows the onlooker to invent narratives for the scene, and is one of the reasons he remarked to Virginia Woolf, ‘I have always been a literary painter’ (V. Woolf, Walter Sickert: A Conversation, London, 1934, p. 26). While Sickert’s work may not have the sentiment or caricature of Charles Dickens’ (as loosely suggested by Woolf in 1934), it often manages to give the impression that you are viewing a moment in time, a snapshot that leaves one guessing as to what has just happened or what will happen next.

It is of no surprise therefore, that in later years Sickert began increasingly to adapt compositions directly from photographs. Yet unlike a photograph, The Gallery at the Old Mogul seems full of movement. Sickert maintains the ability not to simply depict but to create dramatic atmosphere through low tones and a liquid handling of paint reminiscent of Whistler and indeed of a cinematic performance. The Gallery at the Old Mogul successfully predicted not only the importance of film on everyday cultural life but on many subsequent art movements such as the Cubist works of Braque and Picasso between 1907-1914.

Jon Fauer. “First painting of a Movie Theater: Sickert’s “The Gallery at the Old Mogul”,” on the Film and Digital Times website 16/06/2016 [Online] Cited 15/05/2022

 

Walter Richard Sickert (British, 1860-1942) 'The Pit at the Old Bedford' 1889

 

Walter Richard Sickert (British, 1860-1942)
The Pit at the Old Bedford
1889
Oil on canvas
34.5 x 30.0cm
Fondation Bemberg

 

Walter Richard Sickert (British, 1860-1942) 'Vesta Victoria at the Old Bedford' c. 1890

 

Walter Richard Sickert (British, 1860-1942)
Vesta Victoria at the Old Bedford
c. 1890
Oil on panel
14 1/2 x 9 1/4 ins (37 x 23.5cms)
Private collection, UK

 

Walter Richard Sickert (British, 1860-1942) 'Gaîté Montparnasse' c. 1907

 

Walter Richard Sickert (British, 1860-1942)
Gaîté Montparnasse
c. 1907
Oil paint on canvas
612 × 508 mm
The Museum of Modern Art, New York
Mr. and Mrs. Allan D. Emil Fund, 1958

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at left, Minnie Cunningham at the Old Bedford 1892 below; and at right, Brighton Pierrots 1915 below

 

Walter Richard Sickert (British, 1860-1942) 'Minnie Cunningham at the Old Bedford' 1892

 

Walter Richard Sickert (British, 1860-1942)
Minnie Cunningham at the Old Bedford
1892
Oil paint on canvas
Support: 765 × 638 mm
Frame: 915 × 787 × 69 mm
Tate
Purchased 1976

 

 

Minnie Cunningham was a popular performer at the Old Bedford Music Hall in Camden Town. Sickert went there regularly and made dozens of sketches capturing the effects of light and movement on the stage and in the auditorium. Here, Sickert paints from the point of view of an audience member. He first exhibited it with the subtitle ‘I’m an old hand at love, though I’m young in years’, a quote from one of Cunningham’s songs. Sickert painted the ordinary life he saw around him.

Gallery label, September 2020

 

Walter Richard Sickert (British, 1860-1942) 'Brighton Pierrots' 1915

 

Walter Richard Sickert (British, 1860-1942)
Brighton Pierrots
1915
Oil on canvas
Tate
Purchased with assistance from the Art Fund and the Friends of the Tate Gallery 1996

 

 

This week, Tate Britain opened London’s biggest retrospective of Walter Sickert (1860-1942) in almost 30 years. A master of self-invention and theatricality, Sickert took a radically modern approach to painting in the late 19th and early 20th centuries, transforming how everyday life was captured on canvas. This major exhibition features over 150 of his works from over 70 public and private collections, from scenes of rowdy music halls to ground-breaking nudes and narrative subjects. Spanning Sickert’s six-decade career, it uncovers the people, places and subjects that inspired him and explores his legacy as one of Britain’s most distinctive, provocative, and influential artists.

Highlights include 10 of Sickert’s iconic self-portraits, from the start of his career to his final years. For the first time, these portraits are brought together from collections across the UK and internationally, including the National Portrait Gallery in London, the Ashmolean Museum in Oxford, and the Art Gallery of Hamilton in Canada. The variety of different personas adopted by Sickert over the years are shown together – a legacy of his early life as an actor – and how his complex personality evolved on the canvas throughout his career.

Sickert’s interest in the stage is also reflected in one of his favourite artistic subjects: the music hall. His dramatic images of performers and audiences, often captured together from unusual and spectacular angles, evoked the energy of working-class city nightlife. The exhibition examines Sickert’s British and French music hall subjects together through over 30 atmospheric paintings and drawings of halls in London and Paris, including The Old Bedford 1894-1895, Gaité Montparnasse 1907 and Théâtre de Montmartre c. 1906 as well as depictions of famous performers such as Minnie Cunningham and Little Dot Hetherington. Although these subjects were deemed inappropriate by much of the British art world at the time, they took inspiration from the café-concert subjects of celebrated French artists such as Edouard Manet and the ballet subjects of Edgar Degas, a close friend and major influence on Sickert after they met in Paris in the 1880s.

The exhibition is the first to explore the impact of another of Sickert’s key influences, from his time as an assistant in the studio of renowned American artist James Abbott McNeill Whistler. Paintings by both artists, including Whistler’s A Shop 1884-1890 and Sickert’s A Shop in Dieppe 1886-1888 have been brought together, as well as Whistler’s 1895 portrait of Sickert himself, to reveal how the young artist was inspired by his mentor’s atmospheric tonal style and urban subjects. The show examines how Sickert went on to create series of works that experimented with how changing light transformed the facades of famous buildings in some of his favourite cities, including Dieppe and Venice.

Sickert revolutionised the traditional genres of painting in ways that changed the course of British art. His nudes were admired in France but disapproved of in Britain, where they were considered immoral because of their unidealised bodies, contemporary settings and voyeuristic framings. They drew on the influence of artists such as Bonnard and Degas and paved the way for later painters like Lucian Freud. The Camden Town Murder series further transformed Sickert’s nude subjects into narrative paintings by juxtaposing two figures in a claustrophobic interior, while his other domestic scenes such as Ennui 1914 and Off To the Pub 1911 continued this exploration of conflicted emotions and complex modern relationships.

In his final years, his work took on a new and ground-breaking form in larger, brighter paintings based on news photographs and popular culture, including images of Amelia Earhart’s solo flight across the Atlantic and Peggy Ashcroft in a production Romeo and Juliet. This pioneering approach to photography was an important precursor to Francis Bacon’s use of source material and to pop art’s transformation of images from the media, once again revealing Sickert’s role at the forefront of developments in British art.

Walter Sickert is organised by Tate Britain in collaboration with the Petit Palais, Paris. The exhibition is curated by Emma Chambers (Curator, Modern British Art, Tate Britain), Caroline Corbeau-Parsons (Curator of Drawings / Conservatrice des Arts Graphiques at Musée d’Orsay) and former Curator, British Art, 1850-1915 at Tate Britain), the late Delphine Lévy (former Executive Director, Paris Musées) and Thomas Kennedy (Assistant Curator, Modern British Art, Tate Britain). It is accompanied by a fully illustrated catalogue from Tate Publishing.

Press release from Tate Britain

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation views of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at centre in the bottom photograph, The Mantelpiece c. 1906-1907 below; and at right, Girl at a Window, Little Rachel 1907 below

 

Walter Richard Sickert (British, 1860-1942) 'The Mantelpiece' c. 1906-1907

 

Walter Richard Sickert (British, 1860-1942)
The Mantelpiece
c. 1906-1907
Oil paint on canvas
762 x 508 mm
Southampton City Art Gallery
© Estate of Walter R. Sickert / DACS
Photo © Southampton City Art Gallery, Hampshire, UK / The Bridgeman Art Library

 

 

The art historian Wendy Baron has identified the theme of the mantelpiece still life as an offshoot of Walter Sickert’s paintings of interiors with figures, although Sands may also have been aware of Edouard Vuillard’s painting, The Mantelpiece (La Cheminée) 1905 (fig.1). Large decorative fire surrounds in marble or wood became fashionable during the Victorian period, emphasising the open fire as the focus of a room with its symbolic notions of the domestic hearth and home. By the early twentieth century these mantelpieces, usually surmounted by a large overmantel mirror and a shelf broad enough to accommodate an array of ornaments, were a standard feature in most homes, as can be seen in the dingy and claustrophobic interior of Sickert’s famous painting, Ennui c. 1914 (Tate N03846). They were a feature instantly recognisable as characteristic of their time and appear in a number of paintings of Camden Town interiors by Sickert and his circle such as The Mantelpiece c. 1906-1907 (fig.2) by Sickert, and Spencer Gore’s Conversation Piece and Self-Portrait c. 1910 (private collection). Artists developing a more self-consciously abstract style used the mantelpiece and the inevitable shelf of clutter as a subject, even in Duncan Grant’s and Vanessa Bell’s paintings of the same mantelpiece in Bell’s house at 46 Gordon Square, The Mantelpiece 1914 (Tate T01328, fig.3) and Still Life on Corner of a Mantelpiece 1914 (Tate T01133, fig.4), where, however, it holds a piece of hand-made Bloomsbury decoration.

Nicola Moorby. “Ethel Sands: Flowers in a Jug ?1920s,” on the Tate website The Camden Town Group in Context July 2003 [Online] Cited 09/05/2022

 

Walter Richard Sickert (British, 1860-1942) 'Girl at a Window, Little Rachel' 1907

 

Walter Richard Sickert (British, 1860-1942)
Girl at a Window, Little Rachel
1907
Oil paint on canvas
Support: 508 × 406 mm
Frame: 765 × 665 × 75 mm
Tate

 

 

This is one of six paintings and numerous drawings of Sickert’s frame-maker’s 13-year-old daughter, known affectionately as ‘Little Rachel’. Sickert described the series as a ‘set of studies of Illumination’. The scene outside the window is Mornington Crescent Gardens, Camden. The girl’s gaze is turned away from both the artist and the view. The closed window may suggest the future that was expected of her at the time, a future inside the home, as a wife and mother.

Gallery label, October 2020

 

This painting is dominated by the French window of Sickert’s north-facing front room at 6 Mornington Crescent. Light falls softly on the dim figure of the red-haired girl, seen looking across Mornington Crescent Gardens. Rachel, the daughter of his frame maker, features in five known oil paintings by Sickert.

 

There are five other known oils of the same sitter: Girl at a Looking-Glass, Little Rachel (fig.1);3 Little Rachel (National Art Gallery of Queensland, Brisbane),4 a head and shoulders portrait, probably seated on Sickert’s bed; Little Rachel (private collection),5 a three-quarter-length portrait of the sitter half turned, with light falling on her face; and Little Rachel (Plymouth City Museum and Art Gallery),6 an oil study in profile. In all these works she wears the same blouse as in Tate’s picture. There are several drawings of Rachel, some of which relate to these paintings, but none of them is a study for Tate’s oil.7

According to Sickert’s title for one of these oils and one of the drawings, the sitter was the daughter of his frame maker. Using information supplied by Agnew’s, the art historian Wendy Baron records that Rachel’s surname was Siderman, and that she died in 1963 aged 70. …

In Girl at a Window, Little Rachel, Sickert shows his sitter standing by the French windows of his north-facing, first-floor front room at 6 Mornington Crescent, London NW1, which he kept in 1907, just a few doors away from his friend Spencer Gore who lived at number 31. The room was rented, as Sickert wrote in a letter of 1907 to Nan Hudson addressed from Mornington Crescent, ‘I rather hope that when I come back in the autumn I may take the floor above my lodgings here as a room-studio and do the interiors I love’.11 The 1907 Kelly’s Camden and Kentish Town Directory lists the householder as ‘Mrs George Jones Jr’, who was presumably Sickert’s landlady. Mornington Crescent was only one of Sickert’s addresses, and at this time he also had another studio in Fitzroy Street. Following his return to London in 1905 Sickert had continued the practice he followed in Dieppe of keeping several studios at once, which probably sometimes doubled as living accommodation. The art critic Clive Bell recalled Sickert at a somewhat later period ‘showing us his “studios” – “my drawing studio” “my etching studio” etc. The operation involved chartering a cab and visiting a series of small rooms in different parts of London.’

Robert Upstone. “Walter Richard Sickert: Girl at a Window, Little Rachel 1907,” on the Tate website The Camden Town Group in Context May 2009 [Online] Cited 18/06/2022

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at left, Nude Stretching: La Coiffure 1905-1906 below; and at centre, Reclining Nude – Le Lit de Cuivre about 1906 below

 

Walter Richard Sickert (British, 1860-1942) 'Nude Stretching: La Coiffure' 1905-1906

 

Walter Richard Sickert (British, 1860-1942)
Nude Stretching: La Coiffure
1905-1906
Pastel
71 x 55cm

 

Walter Richard Sickert (British, 1860-1942) 'Reclining Nude – Le Lit de Cuivre' About 1906

 

Walter Richard Sickert (British, 1860-1942)
Reclining Nude – Le Lit de Cuivre
About 1906
Oil on canvas
644 x 541 mm
Royal Albert Memorial Museum and Art Gallery, Exeter City Council

 

 

Female nude reclining on a bed which has brass bedsteads. Le Lit de Cuivre translates to ‘copper bed’. There are several versions of this painting in existence. Sickert had begun to draw nudes on metal bedsteads in Dieppe in 1902 and on his return from Venice in 1904 he began to paint the subject. He continued to do so in London often working from drawings made in France eg. “Le Lit de Fer”. In many of his post-Venetian paintings of the nude, Sickert broke away from a horizontal planar emphasis by placing the bed in a diagonal recession or even at right angles to the surface. This work shows how Sickert had begun to develop a broken, crusty touch in the paint work.

Text from the Google Arts and Culture website

 

Walter Richard Sickert (British, 1860-1942) 'Jack the Ripper's Bedroom' 1906-1907

 

Walter Richard Sickert (British, 1860-1942)
Jack the Ripper’s Bedroom
1906-1907
Oil on canvas
50.8 x 40.7cm
Manchester Art Gallery
Bequeathed by Mrs Mary Cicely Tatlock, 1980

 

 

Dark, shadowy view of a bedroom seen through an open doorway. A wooden chair is in the foreground, in what is probably the hallway, to the left of the open door. A dressing table and chair are just distinguishable beneath the filtered pink half-light coming through the horizontal slats of the blind that covers the window at the back of the room. The items of furniture are so indistinct as to make it conceivable that there is a person sitting on the chair, although there is no one there. The bedroom is that of Sickert’s own lodgings at 6 Mornington Crescent. His landlady had told Sickert that she suspected the previous tenant might have been Jack the Ripper, the famous murderer.

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at left, Nude Stretching: La Coiffure 1905-1906 above; and at second left, Reclining Nude – Le Lit de Cuivre about 1906 above

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at second left, Jack Ashore 1912-1913 below; at second right, The Iron Bedstead c. 1908 below; and at right, Mornington Crescent Nude c. 1907 below

 

Walter Richard Sickert (British, 1860-1942) 'Jack Ashore' 1912-1913

 

Walter Richard Sickert (British, 1860-1942)
Jack Ashore
1912-1913
Oil paint on canvas
Object: 368 × 298 mm
Frame: 568 × 494 × 92 mm
Pallant House Gallery, Chichester
Wilson Gift through the Art Fund 2006

 

Walter Richard Sickert (British, 1860-1942) 'The Iron Bedstead' c. 1908

 

Walter Richard Sickert (British, 1860-1942)
The Iron Bedstead
c. 1908
Oil on canvas
39.5 x 50cm
Earl and Countess of Harewood

 

Walter Richard Sickert (British, 1860-1942) 'Mornington Crescent Nude' c. 1907

 

Walter Richard Sickert (British, 1860-1942)
Mornington Crescent Nude
c. 1907
Oil on canvas
45.7 x 50.8cm
The Fitzwilliam Museum
Gift from Mrs Maurice Hill

 

Walter Richard Sickert (British, 1860-1942) 'The Camden Town Murder, or, What Shall We Do for the Rent' c. 1908

 

Walter Richard Sickert (British, 1860-1942)
The Camden Town Murder, or, What Shall We Do for the Rent
c. 1908
Oil on canvas
Yale Center for British Art

 

 

But the question is what Sickert is staging in his own theatre, that dank land of rented rooms, sickly streets and gaslit pubs where men and women are at stalemate. The aesthetic origins are clear enough. Sickert – half Danish, student of Whistler, friend of Degas, admirer of Bonnard – continually aspires to European modernism. The debts are everywhere visible in the show. The most famous painting here, Ennui, pays direct homage to Degas’s drinkers stalled over their absinthe in Paris cafes with more than just its French title.

Five feet high, it is an immense snapshot of suicidal boredom. The glassy-eyed man lolls over his half-empty pint at the table; the woman leans on the chest of drawers, staring straight at the imprisoning walls. Next to her is a case of stuffed birds, trapped in a bell jar of their own. “It is all over with them,” wrote Virginia Woolf, imagining that innumerable dull days had crushed them like “an avalanche of rubbish.”

But the scene is conspicuously staged (to be reprised four more times), and eagle-eyed visitors will recognise the same models in other paintings. Hubby, as he was called, seems to have been an acquaintance of Sickert who had fallen on hard times; Marie was his cleaning lady. He has these working people pose again and again.

Hubby is just edging out of the scene on the way to the pub, just arriving, or terminally slumped. He reappears, with his sleeves menacingly rolled, over a naked woman on a bed in one of the so-called Camden Town nudes. Tate Britain has not shied away from showing a whole gallery of these paintings, which are shot through with suppressed malevolence – a horrible aura of voyeurism, encroachment or outright violence.

The relationship between the prone and naked woman and the clothed man, seated or standing, is disturbing enough. But in at least one painting, the notorious L’Affaire de Camden Town [below], the female body looks beaten like a heap of purpling meat in the gloom, and she is either shielding herself from the man above her, or she is already dead.

Sickert so often fudged (or simply fumbled) human anatomy that the question is how hard he worked to achieve this dark ambiguity. The title of this particular work refers to the murder of a woman named Emily Dimmock in Camden Town in 1907. Sickert’s paintings are a queasy conflation of crime scene, studio setup and social history, and he liked to confuse things further with deflecting titles. One picture is called What Shall We Do for the Rent? [above]

Laura Cumming. “Walter Sickert review – a master of menace,” on The Guardian website Sun 1 May 2022 [Online] Cited 12/05/2022

 

And the centre of this exhibition is a no-holds-barred display of Sickert’s nudes. Against the dark walls of the gallery, in fierce yet subtle lighting, the women are laid out. Their bodies are spread, exhibited, arranged, “like a patient etherised upon a table”, to quote TS Eliot. One model lies with her legs hanging over the bed, her arms spread out. She could be the dead Christ. Another is washing, but as she bends in a doorway we can’t see her head, only her naked body.

L’Affaire de Camden Town [below] takes it to another level. In this 1909 painting, a man stands over an inert female form on a bed. But it is worse than that. She is not so much a continuous figure as a collection of ruddy, moist forms like meat in a butcher’s window. The male onlooker could be a killer contemplating his handiwork – which is exactly what Sickert’s title implies. For this is one of a series of paintings that allude to the murder of Emily Elizabeth Dimmock in Camden, London, in 1907. Sickert became fascinated by this murder. If he really is responsible for sketches of a man with a knife over a woman’s body in the Ripper letters of 1888, his Camden Town Murder paintings eerily echo them.

In The Camden Town Murder, or What Shall We Do for the Rent?, [above] the man sits in despair while the nude on the iron bed has her face turned from us. She may be crying or he may have just throttled her. The stiffness of her arm and awkwardly placed hand suggests the latter. In a drawing called Persuasion a bald, bearded man appears to strangle a woman before our eyes.

These are truly shocking images, more than a century on. Yet they have affinities with some of the greatest modern art, as the exhibition demonstrates. Sickert was strongly influenced by Degas, and in turn influenced Lucian Freud – there are nudes here by both for comparison.

The most appalling aspects of Sickert’s nudes are also their artistic strength. He rejects the phoney academic nude for raw naked reality – he even wrote an essay explaining this aesthetic. This is why he depicts women, more literally perhaps than any artist, as objects: because the body is an object, it is meat. Francis Bacon would agree with him.

Jonathan Jones. “Walter Sickert review – serial killer, fantasist or self-hater? This hellish, brilliant show only leaves questions,” on The Guardian website Tue 26 Apr 2022 [Online] Cited 15/05/2022

 

Walter Richard Sickert (British, 1860-1942) 'L'Affaire de Camden Town' 1909

 

Walter Richard Sickert (British, 1860-1942)
L’Affaire de Camden Town
1909
Oil on canvas
Private collection

 

 

[Liam] Scarlett sees Sickert as a self-styled enigma. In society he was an entertaining, ambitious parvenu, flaunting his connections with royalty, his inclusion in aristocratic circles; professionally, however, he worked as a recluse, renting studios in the dingiest slums of London. He was a painter of secrets, coding visual puzzles into his canvases, giving them wilfully ambiguous titles. And even in an era where everybody was enthralled by crime, he was peculiarly obsessed, fascinated by the prostitutes in the streets around his studios, by the men who used them, and especially by the men who killed them. …

Sickert produced the Camden Town Murder paintings, a series of four, in 1908. They were inspired by the murder the previous year of a prostitute, Emily Dimmock, and present variations on the same unsettling image: a naked woman, sprawled limply over a bed next to a fully clothed man who may or may not be her killer.

The atmosphere in the paintings is both brutal and ambiguous; Scarlett describes it as “seething”, and as he researched deeper into Sickert’s work he saw it echoed many times. In the Camden Town Nude series (1905-1912) the women look like victims, even when they’re alive, their faces obliterated by a slash or blur of paint, their bodies laid out for the artist’s dissecting gaze. Sickert’s mentor, Degas, also played with a queasy element of voyeurism, but Sickert makes the threat overt. Scarlett, who has collected books about the artist, points to a white brushstroke in one of the paintings that makes a “dagger-like approach to the woman’s genital area”.

Even in the paintings where no male aggression is implied, age and poverty make harsh assaults on Sickert’s nudes, their flesh drained of colour, curdled, clotted and veiny, sometimes covered with sores.

Judith Mackrell. “Walter Sickert and the dance of death,” on The Guardian website Mon 19 Mar 2012 [Online] Cited 15/05/2022

 

Walter Richard Sickert (British, 1860-1942) 'La Hollandaise' c. 1906

 

Walter Richard Sickert (British, 1860-1942)
La Hollandaise
c. 1906
Oil on canvas
Tate
Purchased 1983

 

 

 

‘The naked and the Nude’

As with much of Sickert’s work it is not entirely clear what effect the artist intended to create. When viewed in the context of Sickert’s views on the nude, the treatment of the body in La Hollandaise can be read, not as disturbing, but as painterly. In Sickert’s opinion paintings should always show ‘someone, somewhere’.11 He firmly outlined his beliefs in an article in the New Age, July 1910, entitled ‘The naked and the Nude’, in which he condemned art school practice which taught students to draw idealised, ‘lifeless’ nudes without reference to the real world. Instead, he articulated, the focus should be placed on drawing the clothed figure, or at least figures set within a real environment in which context their nakedness made some sense. He concluded:

Perhaps the chief source of pleasure in the aspect of a nude is that it is in the nature of a gleam – a gleam of light and warmth and life. And that it should appear thus, it should be set in surroundings of drapery or other contrasting surfaces.12

.
In La Hollandaise the mottled appearance of the skin is a study of the effects of colour and light on the body, and certain areas such as the left breast are elegantly and delicately painted. It is certain, however, that Sickert was aware of the complex multiplicity of the image, and despite intending the painting to be an aesthetic treatment of the body, he was by no means innocent of its provocative and disturbing possibilities.

Sickert went on to exploit these possibilities even further in his most notorious set of works, the Camden Town Murder paintings, 1908-1909. These pictures, which referred to the recent local murder of a prostitute, caused a sensation when exhibited at the first Camden Town Group exhibition in June 1911. Once again, the ubiquitous iron bedstead featured as the central focal point around which Sickert organised a figural tableau. Unlike his earlier series, however, the artist now paired an unclothed female with a fully dressed male which greatly altered the context of the nude in an interior. In paintings such as The Camden Town Murder or What Shall We Do About the Rent? c.1908 (fig.3)13 [above] and L’Affaire de Camden Town 1909 (fig.4),14 [above] the inclusion of a clothed male protagonist introduces an implied narrative of violence and sex. Although not as extreme or overt, these sordid undercurrents are present in La Hollandaise.

 

‘La Hollandaise’

The art historian Richard Shone has suggested that the title may have been inspired by one of the minor incidental female characters in the novels of Honoré de Balzac. Sarah Gobseck, a prostitute who appears in several of the stories of Balzac’s La Comédie humaine, is familiarly known as ‘la belle Hollandaise’. This ‘magnificent creature’ is purported to be the grand-niece of a Dutch money-lender who leads an immoral and wanton life and is eventually murdered by one of her clients. The title of the painting, therefore, is possibly intended to project connotations of prostitution, or, less specifically, to be representative of a generic grim realism. In Balzac’s Rise and Fall of Cesar Birotteau (published 1838), the character is described as ‘one of those mad-cap women who care nothing as to where the money comes from, or how it is obtained … she never thought of the morrow, for her the future was after dinner, and the end of the month eternity, even if she had bills to pay’,15 a statement which may have appealed to Sickert as reminiscent of his own imprudent character.

The title of La Hollandaise translates as ‘The Dutch Girl’ and may reflect a sense of seriality when linked to other works of this period. It is one of a number of paintings by Sickert with similarly continental titles, for example La Jolie Veneitienne 1903-1904 (private collection),16 La Belle Sicilienne c. 1905 (David Fullen),17 La Belle Rousse c. 1905 (private collection),18 Les Petites Belges 1906 (Museum of Fine Arts, Boston),19 and The Belgian Cocotte 1906 (Arts Council Collection, London).20 Furthermore, as Wendy Baron has noted, the foreshortened figure and crossed placement of limbs recalls Sickert’s earlier group of Venetian nudes, for example, Conversations 1903-1904 (private collection).21 Sickert himself was a cosmopolitan character, equally at home in London, Dieppe or Venice. Despite reducing the means of identifying one model from another to a label indicating their nationality, he was not actually interested in analysing cultural difference. Rather his titles reflect the sameness of his approach. His interest lay in finding models from within a certain class of woman and painting them in a variety of poses, both nude and clothed, against an interior that was uniformly dingy and unprepossessing. Essentially, Sickert believed, the experience of urban existence was the same wherever he went.

Nicola Moorby. “La Hollandaise c. 1906,” on the Tate website March 2007 [Online] Cited 17/05/2022

 

Footnotes

11. Walter Sickert, ‘On the Conduct of a Talent’, New Age, 11 June 1914, p. 131, in Robins (ed.) 2000, p. 377.
12. Walter Sickert, ‘The naked and the Nude’, New Age, 21 July 1910, p. 277, in Robins (ed.) 2000, p. 263.
13. Baron 2006, no. 348.
14. Baron 2006, no. 354.
15. Honoré de Balzac, Rise and Fall of Cesar Birotteau, 1838.
16. Reproduced in Baron 2006, no. 206.
17. Reproduced ibid., no. 240.
18. Baron 2006, no. 235; reproduced in Royal Academy 1992, fig.123, p. 158.
19. Reproduced in Baron 2006, no. 261.
20. Reproduced ibid., no. 265.
21. Wendy Baron, ‘The Process of Invention. Interrelated or Interdependent: Sickert’s Drawings and Paintings of Intimate Figure Subjects’, in Walter Sickert: The Camden Town Nudes, exhibition catalogue, Courtauld Institute of Art, London 2007, p. 35, reproduced fig.13, p. 31; Baron 2006, no. 217.

 

Walter Richard Sickert (British, 1860-1942) 'Nuit d'Été' c. 1906

 

Walter Richard Sickert (British, 1860-1942)
Nuit d’Été
c. 1906
Oil paint on canvas
Object: 508 × 406 mm
Frame: 670 × 570 mm
Private collection, courtesy of Offer Waterman, London

 

 

Walter Sickert exhibition guide

Walter Richard Sickert’s approach to art making was distinctive, provocative and influential. He was a master of self-invention and theatricality, transforming how everyday life was captured on canvas. Spanning his six-decade career, this exhibition uncovers the people, places and events that inspired him. Born in Munich, Germany in 1860, Sickert moved with his family to England when he was eight years old. His father was an artist, introducing him to the work of prominent French and British artists, but Sickert initially pursued a career as an actor. He switched to art in 1882, studying briefly at the Slade School of Fine Art, London, before becoming a pupil of American artist James Abbott McNeill Whistler. Sickert became a central figure of the British artistic avant-garde, as both a painter and a critic.

Sickert created important artistic links between Britain and France, and he spent significant periods of his working life in France. He was a founding member of the New English Art Club, formed as a French-influenced alternative to the more traditional Royal Academy, and the leader of the Camden Town Group of artists who were influenced by post-impressionism.

[Artists associated with the Camden Town Group painted realist scenes of city life and some landscape in a range of post-impressionist styles. The group is named after the seedy district of north London where Walter Sickert had lived in the 1890s (and again from 1907). Sickert’s series of Camden Town nudes and his paintings of alienated couples in interiors, such as Ennui, are his outstanding contribution to Camden Town art.]

Sickert’s innovative painting techniques and subject matter always kept him at the forefront of developments in British art. Sickert said: ‘The plastic arts [visual arts] are gross arts, dealing joyously with gross material facts.’ It was Sickert’s embrace of this materiality – both in his handling of paint and in the exploration of the lives of ordinary people and places – that was ground-breaking in his time. These ideas would go on to inspire generations of younger artists, as well as prominent contemporary painters who cite him as an influence.

 

1. Sickert’s Identities

This room brings together self-portraits Sickert produced throughout his career. Looking at the works, we can see the wide range of techniques and source material Sickert used and the varied ways he presented himself publicly. Having trained as an actor, Sickert could skilfully adopt different personas in his self-portraits, depending on his preoccupations at the time. As well as examinations of the inner self, these works can be interpreted as performances of identity. Early self-portraits feature strong lighting which creates an intense, dramatic effect. Later paintings show the established artist in his studio, surrounded by the tools of his trade. He presents himself as an artist, actor, and even as biblical characters. His later portraits are often based on photographs taken by his wife, Thérèse Lessore.

 

2. The Apprenticeship Years: from Whistler to Degas

After a brief spell at the Slade School of Fine Art, Sickert began his artistic career in 1882 at James Abott McNeill Whistler’s studio, as an assistant helping to print etching plates. Sickert’s own etchings at the time were close in style to Whistler’s, often representing urban scenes with a deliberate economy of line. He was also influenced by Whistler’s small oil panels, painted from life.

Displayed in this room are panels by both Sickert and Whistler, depicting shopfronts in Dieppe and London. They show that Dieppe was an important location for Sickert from his earliest days as an artist. We can also see how Sickert adopted Whistler’s tonal approach to painting, which he learned preparing Whistler’s palette before sketching trips.

The later works in this room show a shift in Sickert’s approach. French artist Edgar Degas became his mentor in 1885, inspiring him to plan his compositions with preliminary drawings and to use bolder colours.

 

3. The Music Hall: Artifices of the Stage

Initially inspired by Degas’s paintings of Parisian café-concerts, Sickert’s music hall paintings catapulted his career to new heights. From a young age he was described as ‘stage-struck’ and acted professionally before becoming an artist. Sickert visited music halls almost every night and made sketches that not only captured the effects of light and movement onstage, but also the people watching in the audience. His subsequent paintings adopted unusual viewpoints while playing with colour, expressing the vibrancy of the performative atmosphere. However, critics described music halls as ‘working-class entertainments’, perceiving popular culture as an inappropriate subject for fine art.

Music halls were popular entertainment venues in the 19th and early-20th centuries. Sickert’s paintings of London, but also Paris and Dieppe, trace their development and demise – from nightly live performances to hosting the first cinematic screenings in Britain. The cinema as well as radio and music recordings became popular, leading to a decline in music hall audiences. Yet, Sickert never lost his interest in theatrical subjects and later turned his attention to other forms of popular entertainment.

 

4. Beyond Portraiture

Sickert took up portrait painting in the hope of using it to earn a regular income and to raise his profile. However, most of his portraits were not specially commissioned so did not benefit him financially. His sitters, many of them well-known personalities, show the extent of his connections within cultural circles and high society in both England and France. Sickert’s portraits depict a range of characters, such as the emaciated figure of the artist Aubrey Beardsley (1894) and the glamorous singer Elizabeth Swinton (Mrs Swinton 1905-1906).

Sickert’s informal portraits, painted in London and Venice, are perhaps closer to genre paintings than portraits. Rather than showing individuals’ characters and inner lives, Sickert painted more generic figures or ‘types’ of people, in carefully observed interiors. Often, these surroundings are equally as important as the figures in suggesting a narrative and an emotional connection between sitter and setting.

 

5A. The Urban Environment: Venice and Dieppe

In 1899 Sickert wrote: ‘I see my line. Not portraits. Picturesque work.’

Landscape paintings were among Sickert’s most successful works, especially views of Dieppe and Venice for which he found a ready market through his dealers in Paris. Sickert frequently returned to favourite painting locations such as Dieppe (where he lived between 1898 and 1905) and Venice (which he visited regularly from 1895). He repeatedly painted their buildings and streets, developing source material he had sketched on the spot into finished paintings in his studio. He often focused on the facades of two famous buildings: St Mark’s Basilica in Venice and the church of St Jacques in Dieppe, where he explored the effect of light on the architecture at different times of day. This approach of looking at the effects of shifting light probably drew inspiration from French impressionist Claude Monet’s Rouen Cathedral series. In Dieppe, Sickert remained interested in the human aspect of the urban scene, often including scenes of everyday life in the foreground of his paintings. Here he was inspired by French artist Camille Pissarro’s views of Dieppe.

 

5B. The Urban Environment: Dieppe, London and Paris

Sickert’s street scenes evolved from small formats that were relatively dark, to bigger paintings that were brighter and more colourful. He was influenced by developments in modern art such as French impressionism, the vivid colours of fauvism, and the bold outlines and symbolism of the Nabis group of French artists. Viewing these works as more commercially attractive, Sickert’s French dealers encouraged this change.

In 1902, Sickert painted a group of large-scale works for Dieppe’s Hôtel de la Plage, as well as capturing the vibrancy of Dieppe street life in other works. He only rarely painted Paris and London views, but these included several atmospheric night scenes, displayed here.

 

6. The Nude

In 1910 Sickert published an article in The New Age titled, ‘The naked and the Nude’. In Sickert’s view, academic ‘Nude’ paintings were so artificial in setting and in form, that they bore little resemblance to the naked human figure.

In the years preceding the text, he had been producing works which challenged such traditions. Inspired by French artists such as Pierre Bonnard and Edgar Degas, who aimed to connect the long-established genre of nude painting with modern urban life, Sickert painted urban working-class women in contemporary settings, presenting them as naked rather than as an idealised nude. Sickert was also interested in the aesthetic qualities afforded by painting nudes in interior settings, like the patterns created on flesh by light streaming from a window.

Sickert first exhibited his nudes in Paris in 1905, where they were well-received. But in Britain, critics strongly objected to their subject matter when they were first shown in 1911. A naked woman in a dimly-lit room, with crumpled sheets on an iron bedstead, suggested poverty and prostitution to the British press. By painting realistic female bodies in everyday interiors, Sickert created a major innovation in British paintings of the nude. His work has gone on to influence later British painters, such as Lucian Freud and Francis Bacon, in their treatment of the nude. However, in recent years, critics and viewers have asked if Sickert’s paintings objectify women, questioning the power dynamics between model and artist, and within the scenes depicted.

 

The Camden Town Murder Series

From painting a single nude, Sickert soon began to explore different ways of posing two figures in an interior. Works set in Venice and London (seen earlier in this room) depict semi-naked and clothed women in conversation, seated on a bed. Sickert then developed a series of paintings depicting a clothed man and naked woman. He posed his models in the same dingy rooms in Camden Town where he had painted his nudes, using many of the same props such as the iron bedstead. These paintings have become known as the Camden Town Murder series.

The Camden Town Murder was the name given to a real event: the murder of Emily Dimmock in Camden in 1907. The murder attracted huge press attention. Sickert took advantage of the interest and controversy raised by giving some of his paintings titles that allude to the murder. He also reworked them and gave them alternative titles. This allowed the viewer to imagine different narratives and relationships between the figures. Sickert was interested in the emotional connection between the figures in their different configurations, rather than any kind of illustration of Dimmock’s murder. The series has long intrigued audiences because of the ambiguity between title and subject matter. For Sickert, these works furthered his exploration of narrative painting. However, some people are critical of the potential for violence they see within the scenes.

 

Sickert’s Models

Like most artists of his generation, Sickert worked with models, some of whom would become close friends or lovers. More often, the relationship was professional, with the model being paid for their work. We know the identity of some of his models: Augustine Villain in Dieppe, Carolina d’Acqua and La Giuseppina in Venice, Blanche and Adeline in Paris, Hubby and Marie in London. Others are unknown.

 

7. Modern Conversation Pieces

Sickert’s fascination with narrative painting led to him radically reinventing the ‘conversation piece’. These group portraits in informal settings were originally popularised by William Hogarth and other 18th-century British artists. Also drawing on contemporary French paintings of figures in interiors, Sickert created a uniquely British style for the 20th century. Arranging stage sets in his studio, Sickert aimed to depict everyday life in the modern city. He painted figures showing conflicting emotions, appearing to be in tense relationships, heightened by claustrophobic environments. The same subject matter appears in multiple paintings, with alternating combinations of figures and different titles. Sickert leaves the narratives behind such works unfixed and open for us to interpret – he felt their visual content and materiality were more important than written descriptions.

 

8. Transposition: The Final Years

From his initial interest in music halls, Sickert’s fascination with popular culture continued throughout the 1930s. He began to paint on a larger scale and use a brighter colour palette. Scenes from the theatre and stories in the popular press dominated his output. He would use black and white photographs as visual sources, which he translated into vivid colour on the canvas. Sickert was fascinated by how black and white photography’s flattened perspectives and stark tonal contrasts resulted in simplified forms. He retained these elements, creating almost abstract effects in his finished paintings.

Sickert also produced a series of works based on Victorian engravings, which he entitled ‘Echoes’. In contrast, his theatrical scenes were based on photographs taken himself or by his assistants during rehearsals, or on press cuttings. Here, he featured his favourite performers, such as Peggy Ashcroft and Gwen Ffrangcon-Davies, whom he painted repeatedly. He also used press-cuttings as the source for images of royalty or historic events such as Amelia Earhart’s solo flight across the Atlantic in May 1932. Sickert’s use of photography is now recognised as a significant precursor of subsequent developments in art. Pop art’s transposition of found popular images is indebted to Sickert, as is the use of photography as source material by late 20th-century artists, such as Francis Bacon.

Text from the Tate Britain website

 

Walter Richard Sickert (British, 1860-1942) 'The Trapeze' 1920

 

Walter Richard Sickert (British, 1860-1942)
The Trapeze
1920
Oil on canvas
The Syndics of the Fitzwilliam Museum, University of Cambridge
© Fitzwilliam Museum, Cambridge

 

Walter Richard Sickert (British, 1860-1942) 'L'Hôtel Royal, Dieppe' 1894

 

Walter Richard Sickert (British, 1860-1942)
L’Hôtel Royal, Dieppe
1894
Oil on canvas
Sheffield Museums Trust

 

Walter Richard Sickert (British, 1860-1942) 'Les Arcades et La Darse' c. 1898

 

Walter Richard Sickert (British, 1860-1942)
Les Arcades et La Darse
c. 1898
Oil paint on canvas
Object: 508 × 670 mm
Frame: 680 × 790 × 90 mm
Fondation Bemberg, Toulouse

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at left, Rowlandson House – Sunset 1910-1911 below; at second left, The Garden of Love or Lainey’s Garden c. 1927-1931 below; at third left, Queens Road Station, Bayswater c. 1916 below; at fourth right, Maple Street, London c. 1915-1923 below; at third right, O Nuit d’Amour 1922 below; at second right, Celebrations, Dieppe 1914 below; and at right, Café Suisse, Dieppe 1914 below

 

Walter Richard Sickert (British, 1860-1942) 'Rowlandson House – Sunset' 1910-1911

 

Walter Richard Sickert (British, 1860-1942)
Rowlandson House – Sunset
1910-1911
Oil paint on canvas
Support: 610 × 502 mm
Frame: 805 × 707 × 67 mm
Tate
Bequeathed by Lady Henry Cavendish-Bentinck 1940

 

Walter Richard Sickert (British, 1860-1942) 'The Garden of Love or Lainey's Garden' c. 1927-1931

 

Walter Richard Sickert (British, 1860-1942)
The Garden of Love or Lainey’s Garden
c. 1927-1931
Oil on canvas
81.9 x 61.6cm
The Fitzwilliam Museum
Gift from J. Howard Bliss, 1945

 

 

Sickest met English artist Thérèse Lessore in January 1914, when she was elected to the London Group (a society of artists). They married in Margate on 4 June, 1926 and soon after moved to Brighton. In 1927, Sickert and Lessore return to London and settled at Southey Villa, Quandrant Road, near Essex Road in Islington – the likely location of this painting. Thérèse, or ‘Lainey’ (as Sickert liked to call her) tends to her garden, an intimate space surrounded by London’s urban landscape. The road no longer exists but in its place stands a community centre named after Sickert.

Wall text

 

Walter Richard Sickert (British, 1860-1942) 'Queens Road Station, Bayswater' c. 1916

 

Walter Richard Sickert (British, 1860-1942)
Queens Road Station, Bayswater
c. 1916
Oil on canvas
62.3 x 73cm
The Courtauld, London (Samuel Courtauld Trust)
Bequeathed by Roger Eliot Fry, 1935

 

 

Queens Road station (now Bayswater station) was one of the first underground stations in London. This painting shows a view across the tracks to a platform where a man is seated in a recess. The diamond-shaped platform sign was a short-lived prototype of the famous bar and circle design, introduced shortly after Sickert completed the canvas. The name ‘Whiteley’s’ refers to the well-known department store just north of the station. For contemporaries, Whiteley’s was synonymous with the sensational murder of the store’s founder in 1907. Sickert’s arrangement of the station’s signs and advertisements into patterns of form and colour particularly appealed to Roger Fry who bought this painting in 1919 for his London home.

Text from the Art UK website

 

Walter Richard Sickert (British, 1860-1942) 'Maple Street, London' c. 1915-1923

 

Walter Richard Sickert (British, 1860-1942)
Maple Street, London
c. 1915-1923
Oil on canvas
76.8cm (30.2 in) x 51.1cm (20.1 in)
Metropolitan Museum of Art
Gift of Emma Swan Hall, 1998
CC0 1.0

 

Walter Richard Sickert (British, 1860-1942) 'O Nuit d'Amour' 1922

 

Walter Richard Sickert (British, 1860-1942)
O Nuit d’Amour
1922
Oil on canvas
90.2 x 69.8cm
Manchester Art Gallery
purchased at Christie’s, 1988

 

Walter Richard Sickert (British, 1860-1942) 'Celebrations, Dieppe' 1914

 

Walter Richard Sickert (British, 1860-1942)
Celebrations, Dieppe
1914
Oil on canvas
91.4 x 61cm

 

Walter Richard Sickert (British, 1860-1942) 'Café Suisse, Dieppe' 1914

 

Walter Richard Sickert (British, 1860-1942)
Café Suisse, Dieppe
1914
Oil on canvas

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at left, Easter c. 1928 below; at second left, Rowlandson House – Sunset 1910-1911; at third left, The Garden of Love or Lainey’s Garden c. 1927-1931

 

Walter Richard Sickert (British, 1860-1942) 'Easter' c. 1928

 

Walter Richard Sickert (British, 1860-1942)
Easter
c. 1928
Oil on canvas
© National Museums NI, Ulster Museum Collection

 

 

Despite his association with the Camden Town Group of artists, who took their subjects from the streets of the London district, Sickert rarely depicted the streets of London itself. Two examples displayed here are Maple Street, which depicts a street in the Fitzrovia area, and Easter, which depicts Dawson Brothers, a linen-drapers’ shop on City Road close to Old Street tube station. The shop was in business from the 1940s until the late 20th century. Sickest has painted the almost deserted street at night, illuminated by a window display of Easter bonnets.

Wall text

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at Bathers, Dieppe 1902 below; at second left, Le Grand Duquesne, Dieppe 1902 below; at third right, The Fair at Night c. 1902-1903 below; and at right, Easter c. 1928 above

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at Bathers, Dieppe 1902 below; at second left, Le Grand Duquesne, Dieppe 1902 below; and at right, The Fair at Night c. 1902-1903 below

 

Walter Richard Sickert (British, 1860-1942) 'Bathers, Dieppe' 1902

 

Walter Richard Sickert (British, 1860-1942)
Bathers, Dieppe
1902
Oil on canvas
131.4 x 104.5cm
Walker Art Gallery, purchased 1935

 

Walter Richard Sickert (British, 1860-1942) 'Le Grand Duquesne, Dieppe' 1902

 

Walter Richard Sickert (British, 1860-1942)
Le Grand Duquesne, Dieppe
1902
Oil on canvas
Manchester Art Gallery
Purchased from the Lefevre Galleries, 1935

 

 

In this work Sickert depicts a statue of Dieppe’s celebrated hero Admiral Abraham Duquesne in the Place Nationale by foreshortening and silhouetting of the statue against the sky which gives it a dramatic presence.

 

Walter Richard Sickert (British, 1860-1942) 'The Fair at Night' c. 1902-1903

 

Walter Richard Sickert (British, 1860-1942)
The Fair at Night
c. 1902-1903
Oil on canvas
129.5 x 97.2cm
Rochdale Art Gallery

 

 

The Fair at Night is an early example of Sickert’s use of especially vibrant colour, more prominent in his later work. The muted background is enriched with acidic greens, lurid yellows and vivid scarlets. Sickert uses broad, sweeping brushstrokes to create a dynamic evocation of the local fair in Dieppe.

Wall text

 

Walter Richard Sickert (British, 1860-1942) 'Café des Tribunaux, Dieppe' c. 1890

 

Walter Richard Sickert (British, 1860-1942)
Café des Tribunaux, Dieppe
c. 1890
Oil paint on canvas
Support: 603 × 730 mm
Frame: 830 × 955 × 108 mm
Tate
Presented by Miss Sylvia Gosse 1917

 

 

In the 1890s Sickert spent most of his summers at the French port of Dieppe, and from 1896 to 1905 he lived there permanently. At that time it was popular with British artists as well as being a fashionable holiday resort for English people as indicated by a barber’s sign in English on the right. The Café des Tribunaux was at a focal point of the town, where two roads converge, and was frequented by British visitors. Both French realist and Impressionist tendencies are present in the painting.

Tate Gallery label, November 2016

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at left, The Façade of San Marco, Venice 1896-1897 below; at second left, St Mark’s, Venice 1896 below; at second right, The Lion of St Mark c. 1895-1896 below; and at right, The Façade of St Jacques, Dieppe 1902 below

 

Walter Richard Sickert (British, 1860-1942) 'The Lion of St Mark' c. 1895-1896

 

Walter Richard Sickert (British, 1860-1942)
The Lion of St Mark
c. 1895-1896
Oil on canvas
89.8 x 90.2cm
The Fitzwilliam Museum

 

 

Sickert fills the whole painting with the Lion of St Mark set against one side of the Doge’s Palace behind. Most of the painting is in shadow and the perspective flattened with just a small section of the Doge’s Palace in strong sunlight.

 

Walter Richard Sickert (British, 1860-1942) 'The Façade of St Jacques, Dieppe' 1902

 

Walter Richard Sickert (British, 1860-1942)
The Façade of St Jacques, Dieppe
1902
Oil on canvas
Private collection

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at second left, The Façade of San Marco, Venice 1896-1897 below; and at second right, St Mark’s, Venice 1896 below

 

Walter Richard Sickert (British, 1860-1942) 'The Façade of San Marco, Venice' 1896-1897

 

Walter Richard Sickert (British, 1860-1942)
The Façade of San Marco, Venice
1896-1897
Oil on canvas
90 x 120cm
National Trust, Coleton Fishacre

 

 

Venice occupies an important position in the development of Sickert’s development as an artist. He first visited the Italian city in 1894 in his mid-thirties, then made subsequent trips to paint there in 1895-1896, 1900, 1901, 1903-1904 and 1905. He called it ‘the loveliest city in the world’.

In 1895 Sickert had visited an exhibition of Monet’s paintings of Rouen Cathedral and they impressed him so much that in Venice he too took a cathedral, San Marco, and executed a series of paintings of it from the same position.

His San Marco facade series differed however in that whilst for Monet everything was on the changing effects of light on the facade, Sickert focussed on the architectural forms. He captured all the details on carefully gridded preparatory drawings, transferred these to each painting and then added a dominant light and colour effect from one time during the day.

Text from the Art UK website

 

Walter Richard Sickert (British, 1860-1942) 'St Mark's, Venice (Pax Tibi Marce Evangelista Meus)' 1896

 

Walter Richard Sickert (British, 1860-1942)
St Mark’s, Venice (Pax Tibi Marce Evangelista Meus)
1896
Oil on canvas
90.8 x 120 cm
Tate

 

 

The skies are rendered in a uniform colour, and the gold from the four mosaics and crosses contrasts markedly with the sombre, shadowed plaza in front of the cathedral, where incidental figures are not at first noticed walking by.

 

Walter Richard Sickert (British, 1860-1942) 'The Horses of St Mark's, Venice' 1901-1906

 

Walter Richard Sickert (British, 1860-1942)
The Horses of St Mark’s, Venice
c. 1901-1906
Oil on canvas
53 x 44cm
Bristol Museums, Galleries & Archives

 

 

The Horses of St Mark’s are a set of Byzantine bronze statues of four horses, originally part of a monument depicting a quadriga (a four-horse carriage used for chariot racing). Whilst they give the painting its title, they were of secondary importance for Sickert, and he was much more interested in the arch above them and the gold decoration under different light.

 

 

 

Five Things to Know about Walter Sickert

 

1. He initially trained as an actor

Born in Munich to an artist father, he moved to England at eight years old. Before taking up a career as a painter, Walter Sickert’s focus was becoming an actor, having been described as ‘stage-struck’ from an early age. He appeared in a number of productions from Henry VII and The Lady of Lyons to Othello and A Midsummer Night’s Dream.

When he decided to become an artist, his fascination with theatrical subjects continued throughout his career in both paintings and drawings. From his love of music halls to staging various setups for his paintings, Sickert also adopted a variety of personas over the years to continually reinvent himself including the role of biblical characters such as Lazarus when making self-portraits.

 

2. He attempted things no artist had tried before

Innovative and radical with both his painting techniques and approach to subject matter, he led key avant-garde groups of artists in the early 20th century, from the London Impressionists to the Camden Town Group. He pushed boundaries with his frequently provocative work by crafting his nude paintings, for example, in domestic, everyday settings, determined to capture society as he saw it at the time.

Later, he would take inspiration for his painting based on news photographs and popular culture. This included images of Amelia Earhart’s solo flight across the Atlantic and Leslie Banks and Edith Evans in the production of The Taming of the Shrew – he was also the first person to paint a screened film. Sickert was extremely interested in the popular press and used stories in newspapers to create narratives in his paintings. This included celebrities from King Edward VIII to Gwen Ffrangcon-Davies and Ira Aldridge. This exciting approach to photography saw him known as a precursor to Pop Art.

 

3. Sickert was not Jack the Ripper

Sickert was fascinated by the popular press and sensational stories including Jack the Ripper and the Whitechapel murders. Because of this, and his realistic paintings of everyday life, he has emerged in recent years as one of several suspects related to the case.

There is no evidence to suggest that Sickert was involved in the murders despite the promotion of a theory by American crime writer Patricia Cornwell. The identity of Jack the Ripper has never been determined and there is no evidence to link Sickert to the murders.

In recent years, paper analysis has suggested links between paper used by Sickert for personal correspondence and paper used in some of the hoax letters sent to the police and press claiming to be from Jack the Ripper. The most that can be said is that if Sickert did write some of these hoax letters it was consistent with his propensity to play with different identities and follow sensational stories in the popular press.

The Walter Sickert exhibition at Tate Britain does not consider this topic, however an essay in the exhibition catalogue investigates the evidence of the letters.

 

4. He has notable artistic links to France

His work was particularly important for links between Britain and France. He spent a great deal of his working life in France and had a long history of exhibiting in both London and Paris. He also has a significant connection to Dieppe, having lived there for a time – it was an important location for Sickert, particularly in the early days of his career, painting the location frequently when he was an apprentice in James Abbott McNeill Whistler’s art studio. During his time in France, he also became friends with Edgar Degas who influenced Sickert’s practice and choice of subject matter.

In Britain, he was a founder member of the New English Art Club, formed as a French-influenced alternative to the Royal Academy. He also inspired groups of younger artists interested in the development of post-impressionist ideas, such as Spencer Gore, Harold Gilman, and others who formed the Camden Town Group.

 

5. He helped shape modern British Art as we know it

Sickert began his career in 1882 as an apprentice in James Abbott McNeill Whistler’s studio, assisting initially with printing etching plates of urban environments and cities. Degas was another great influence in his artistic life, but early on, he began to establish himself as his own artist. The rest is history: Sickert went on to revolutionise the traditional genres of painting thanks to his fascination with alternating narratives – this helped change the course of British art. Artists who came after Sickert, from Francis Bacon, Lucian Freud, and Lynette Yiadom-Boakye were all influenced by his work.

In his final years, he reinvented himself professionally and artistically. From his career beginnings as an actor to apprentice, painter, teacher and critic, he remains a celebrated artist whose progressive ideas in painting make him as relevant and influential today as he was in his own time.

Text from the Tate Britain website

 

Walter Richard Sickert (British, 1860-1942) 'Off to the Pub' 1911

 

Walter Richard Sickert (British, 1860-1942)
Off to the Pub
1911
Oil paint on canvas
508 x 406 mm

 

 

This painting shows the figure of a man in the act of leaving a tawdry mustard and brown interior, presumably for the pub, as given in the title. A woman seen in profile seated stoically appears to stare vacantly after him, and wears the flat straw hat of the costermonger, signifying her stereotypically grim urban working class experience. At the time, Sickert was engaged in capturing pairs of figures arranged variously within domestic settings to produce emotional or psychological tension, as in the melodramatic crisis portrayed here, which culminated a few years later in Ennui c. 1914 [below]

Text from the Tate website

 

Walter Richard Sickert (British, 1860-1942) 'Ennui' c. 1914

 

Walter Richard Sickert (British, 1860-1942)
Ennui
c. 1914
Oil paint on canvas
Support: 1524 × 1124 mm
Frame: 1741 × 1340 × 110 mm
Tate
Presented by the Contemporary Art Society 1924

 

 

The title of this painting means ‘boredom’ in French. Sickert suggests the strained relationship between the figures by their lack of communication. Despite being close together, the man and woman face in opposite directions, staring off into space. They appear almost trapped in their surroundings. The furnishings reinforce the theme, in particular the bell jar containing stuffed birds, suggesting a suffocating environment. Sickert’s works give us no moral or narrative certainty. He leaves it up to us to interpret the image.

Gallery label, August 2020

 

Walter Richard Sickert (British, 1860-1942) 'Aubrey Beardsley' 1894

 

Walter Richard Sickert (British, 1860-1942)
Aubrey Beardsley
1894
Tempera on canvas
Support: 762 × 311 mm
Frame: 1010 × 553 × 61 mm
Tate
Purchased with assistance from the Art Fund 1932

 

 

It is thought that this painting shows the artist Aubrey Beardsley walking through Hampstead Church graveyard. He had been attending the unveiling of a memorial to the Romantic poet John Keats. At this time Beardsley was also living with tuberculosis, the disease which had killed Keats. Though elegantly dressed, Beardsley’s figure appears emaciated. The subdued background adds to the poignancy of the image; Beardsley died four years later. The painting was published in the journal Yellow Book when Beardsley was art editor.

Tate Gallery label, November 2021

 

Walter Richard Sickert (British, 1860-1942) 'George Moore' 1890-1891

 

Walter Richard Sickert (British, 1860-1942)
George Moore
1890-1891
Oil on canvas
Tate

 

Walter Richard Sickert (British, 1860-1942) 'Mrs Swinton' c. 1905-1906

 

Walter Richard Sickert (British, 1860-1942)
Mrs Swinton
c. 1905-1906
Oil paint on canvas
Object: 762 × 635 mm
Frame: 903 × 775 × 65 mm
The Syndics of the Fitzwilliam Museum, University of Cambridge

 

Walter Richard Sickert (British, 1860-1942) 'Victor Lecourt' 1922-1924

 

Walter Richard Sickert (British, 1860-1942)
Victor Lecourt
1922-1924
Oil paint on canvas
Object: 813 × 605 mm
Frame: 995 × 788 × 77 mm
Manchester Art Gallery
George Beatson Blair bequest, 1941

 

Walter Richard Sickert (British, 1860-1942) 'Baccarat' 1920

 

Walter Richard Sickert (British, 1860-1942)
Baccarat
1920
Oil paint on canvas
Object: 552 × 457 mm
Frame: 700 × 620 × 80 mm
Private collection c/o Grant Ford Limited

 

 

Sickert and Photography

Rebecca Daniels on how Walter Sickert deftly combined art history and photography in his paintings

While lecturing at the Thanet School of Art in November 1934, Walter Sickert observed that the artist ‘Carpaccio used to put in the background of his compositions exact copies of the architecture that was current in his day, such things as one sees nowadays in such papers as the Mirror and the Sketch‘. This was part of an impassioned plea that the art of the past was still very relevant to the present. A fortnight later Sickert sourced a photograph of his ‘adored’ Peggy Ashcroft, the formidable British actress, from the pages of The Radio Times. It shows Ashcroft on holiday, standing on the Accademia Bridge in Venice, a month before her wedding to the theatre director Theodore Kominsarjevsky.

Sickert’s sharp eye perceived that this casual ‘holiday snap’ had strong affinities with the compositions of Venetian Renaissance art. The actress, captured in profile and leaning against a ledge, is reminiscent of Bellini and the background alludes to Carpaccio. Yet the colours and technique Sickert then deployed in his painting Variation on Peggy 1934-1935 [below] are uncompromisingly modern. The vibrant but limited palette seems to refer to colours used in the four-colour printing process as seen in an advertisement on the back of the same edition of The Radio Times (16 November 1934). Sickert commented, in April 1933, that colour reproduction was ‘perpetually improving’. Variation on Peggy is an example of his deliberately unnerving juxtaposition between past and present.

The painter pioneered the use of photographs by artists, and had been campaigning since the 1890s that this secret practice should be exposed. He daringly advertised his own use of photographs in his art criticism and in inscriptions on the canvas itself. However, he was adamant that they were only a preliminary aid, the starting point in the creative process to which the artist must impose his own stamp of originality. He compared this process with acting: ‘We have to do with the subject something similar to what is done by an actor with a role in the theatre.’

Sickert had been an actor, and in 1880 had trod the boards at Sadler’s Wells. During the 1930s he became involved with the theatre again, donating the proceeds of the sale of his The Raising of Lazarus c. 1929-1932 [below] to the struggling venue. He also befriended several leading contemporary actors and actresses, John Gielgud (whose father he had known), Gwen Ffrangçon-Davies (the subject of his magisterial Miss Gwen Ffrangçon-Davies as Isabella of France 1932 [below]) and Ashcroft. His plea to art students found resonance with issues affecting contemporary theatre, which was actively trying to modernise the presentation of classic plays, particularly Shakespeare. While theatre companies sought to achieve this through changing Shakespeare’s language, Sickert focused on presenting paintings of the theatre, often of Shakespearean subjects, which had been obviously sourced from photographs, either from newspapers or taken for the artist by press photographers who would attend matinees with him.

This desire to combine aspects of the past and present, photography and colour seems very relevant to contemporary art practice. For example, Clare Woods has used Sickert’s Juliet and Her Nurse 1935-1936, as well as the shocking contemporary press photograph of Davinia Turrell holding a burns mask to her face after she was caught in the 7/7 London bombings, as sources for her painting Silent Suzan 2014. Woods’s powerful work is just the sort of juxtaposition that Sickert was encouraging artists to explore.

Text from the Tate Britain website

 

Walter Richard Sickert (British, 1860-1942) 'Variation on Peggy' 1934-1935

 

Walter Richard Sickert (British, 1860-1942)
Variation on Peggy
1934-1935
Oil paint on canvas
578 × 718 mm
Frame: 807 × 941 × 96 mm
Tate
Bequeathed by Dame Peggy Ashcroft 1992

 

 

Sickert had used photographs as source material since the 1890s, but it was not until the 1930s that their use became a routine part of his practice. The image for Variation on Peggy [above] was taken from a black and white photograph of Peggy Ashcroft (1907-1991), the classical actress, on holiday in Venice, which was published in the Radio Times. She is seen against the parapet wall of the Accademia Bridge with the Grand Canal behind, and the domes of the Church of Santa Maria della Salute visible above her head.

The loose handling of paint is typical of Sickert’s late paintings. Pigment is brushed in roughly with little attention to the minutiae of naturalistic detail, even in sections that would traditionally warrant such attention such as the sitter’s face, and in many areas patches of canvas show through the lattice of coloured marks. In the lower half the squaring-up lines used to facilitate the transfer of the photographic image onto the canvas are clearly visible. Reference to the mechanical procedure of picture making belies the sense of immediacy suggested by the carefree application of paint.

Even in the context of the lightened palette of Sickert’s late work, the colours in Variation on Peggy are exceptional both in their tone and their eccentricity. Subtle modulations of pale chalky blue in the sky continue down through parts of the church and surrounding buildings to the canal. The blue expanse of water is interspersed with touches of green representing boats and piers, and with large passages of green and pink suggesting the reflections and shadows of buildings. The details of the buildings themselves are shown in pink, green and dark brown, and rendered in the same cursory manner as the rest of the painting. The figure of Ashcroft is modelled in various shades of green: the pale green of her dress blends with the warmer green of her face and neck, and the rich, deep green of her hair. Her profile is highlighted by the contrast between the blue water and the green of her face and further accentuated by the dark outline of her forehead, nose, lips and chin. By contrast, the right side of the figure blends more harmoniously with its predominantly pink and green background.

Though the theatre had been an important subject matter in Sickert’s work since the late 1880s, it was only in the mid 1920s that he began to paint large scale portraits of leading actors and actresses on and off the stage. Ashcroft’s performance next to Paul Robeson in Ellen Van Volkenburg’s 1930 production of Othello had brought the actress to prominence. Variation on Peggy is one of at least fifteen paintings by Sickert of her.

Toby Treves. “Walter Richard Sickert: Variation on Peggy,” on the Tate website May 2000 [Online] Cited 10/05/2022

 

Walter Richard Sickert (British, 1860-1942) 'Miss Gwen Ffrangcon-Davies as Isabella of France' 1932

 

Walter Richard Sickert (British, 1860-1942)
Miss Gwen Ffrangcon-Davies as Isabella of France
1932
Oil paint on canvas
Tate
Presented by the National Art Collections Fund, the Contemporary Art Society and Frank C. Stoop through the Contemporary Art Society 1932

 

 

This large, elongated canvas is dominated by the radiant figure of the actress Gwen Ffrangcon-Davies, waiting offstage during a rehearsal of the play Edward II by Christopher Marlowe (1564-1593). She wears the Elizabethan costume, pearls and emerald ring of the character of Queen Isabella of France. The inscription ‘La Louve’, or ‘she-wolf’, alludes to Isabella’s ruthlessness. Although Ffrangcon-Davies and Sickert were close friends at the time it was painted, she did not sit for the portrait, which was made from a photograph taken by a professional photographer named Bertram Park.

 

Sickert loved the theatre and became a friend of the actress Gwen Ffrangcon-Davies after writing her a fan letter in 1932. This painting shows her in the role of Queen Isabella of France in Christopher Marlowe’s 16th-century play Edward II. The name ‘La Louve’ means ‘she-wolf’, a hostile title given to the historical Isabella. The production had taken place nine years earlier, and Sickert painted this picture from a small photograph, taken by Bertram Park, of the actress on stage. The painting was an immediate success and the Daily Mail described it as ‘Mr Sickert’s Best Work’.

Tate Gallery label, September 2016

 

Subject and style

Inevitably, Sickert also conceived a desire to paint a more memorable individual portrait of Ffrangcon-Davies, but, as he explained to her, he had no desire for her to pose or sit for him.7 Instead, he selected an image from her own album of publicity photographs, showing her as Queen Isabella of France in the play Edward II (published 1594) by Christopher Marlowe (1564-1593). Ffrangcon-Davies had performed the role in a Phoenix Society production at the Regent and Court Theatres in 1923. The photograph was apparently a quick snapshot taken during a dress rehearsal while the actress was waiting in the wings for her stage entrance. The whereabouts of the photograph is now unknown (probably because Sickert never returned it to Ffrangcon-Davies after borrowing it from her album). The photographer, Bertram Park, was the husband of Yvonne Gregory, also a photographer who took many official shots of the actress. Sickert scaled up the image onto a large canvas (8 x 3 feet) and added the inscription ‘Bertram Park phot.’, acknowledging the source for the image. He also added the title ‘La Louve’ (The She-Wolf) along the bottom of the painting, referring to the ruthless character of Queen Isabella who, with her lover Roger Mortimer, deposed and murdered her husband, Edward II, with both perpetrators described in the play as wolves.

In 1923, when she took on the role of Isabella, Ffrangcon-Davies was still making a name for herself. She had achieved a breakthrough with her highly acclaimed performance in The Immortal Hour (1922), but was still primarily known as a singer and was eager to extend her acting repertoire. Isabella in Edward II was one of her first major classical roles, but reviews of her performance were mixed. The critic in the Outlook wrote: ‘Miss Gwen Ffrangcon-Davies was not at all good as Queen Isabella: her realistic sobs and groans were hopelessly out of the proper key.’8 However, the New Statesman was more impressed:

One figure stands out, that of the Queen. I have never seen Miss Ffrangcon-Davies act before and was immensely impressed by the dignity of her performance. She has excellent gesture, a musical voice, and she looked most graceful and finished. But better by far than this she spoke intelligently, as if she realised the meaning and the measure of the words she was speaking. While she was acting one could remember how supremely Marlowe could write.9

.
The Saturday Review reported that ‘The queen of Miss Ffrangcon-Davies was a beautifully firm piece of work and as good to look upon as a portrait of the Flemish school’.10 Nine years later Sickert evidently also relished the aesthetic quality of the picture of the actress in her elaborate Elizabethan costume, complete with pearl necklaces and a large emerald ring. Ffrangcon-Davies recalled that the dress, which was designed by Grace Lovat-Fraser, was made of gold lamé and that her hair had also been painted gold to match the outfit. The full skirt was flat at the front and back but wide at the sides. Sickert had not seen the play himself and the source photograph upon which the painting was based was a black and white image, so he was required to imagine his own colour scheme for the dress.

Sickert’s painting technique was well established during the 1930s and evidence of the various stages of his regimen is clearly visible in Miss Gwen Ffrangcon-Davies as Isabella of France. The artist first transferred the image from the photograph to the canvas using the squaring-up method. The drawn grid of squares can still clearly be seen within the skirt and body of the dress. The composition was then sketched in using a pink underlayer, in varying degrees of depth. A darker tone corresponds to areas of shadow while a lighter tone picks out the highlights. In many areas patches of the underdrawing have been left as an integral part of the final painting. Sickert usually left this first layer to dry for at least a month,11 and it was possibly during this stage in the process that Ffrangcon-Davies dined with the Sickerts at their home on 21 July 1932. She recorded in her diary that the painting was well underway and that Sickert had apparently greatly alarmed his wife, Thérèse Lessore, by returning from the studio with the exhortation, ‘Thank God Gwen’s dry and on the operating table’.12 The lettering appears to have been added shortly after this since a letter of 25 July informed Ffrangcon-Davies that the artist had spent ‘a lovely day with the she-wolf. Got the lettering exactly the right place and right size.’13 In the later stages of the process Sickert added the local colouring for the figure over the bone-dry underpainting. Broadly applied white/cream brushstrokes constitute the texture of the dress while brown and black add definition to the face and torso. Finally, small touches of red and green were added to give the figure some depth and minimal warmth. Sickert was working on the canvas right up until it went on display at the Wilson Galleries in early September 1932. When the critic R.R. Tatlock first saw it at the exhibition he reported that the pigment was still wet.14

 

Reception

Miss Gwen Ffrangcon-Davies was well received by the critics who raved over both its technical qualities and its success as a portrait. Frank Rutter described the limited colour palette as a ‘tour-de-force’, and declared that Sickert had ‘never shown his wonderful mastery of light and shade more completely and brilliantly than in this painting’.15 Similarly Tatlock, writing in the Daily Telegraph, considered it the ‘high water mark’ of the artist’s achievements, ‘better aesthetically than anything achieved or likely to be achieved by any other living artist’.16 He praised the rich painterly quality of the brushwork and the dynamism of the composition. The Times was equally expansive:

To have given the portrait so genuinely monumental a composition, without the slightest sign that it is a miniature greatly enlarged in size, is a most remarkable achievement. It is this grand and statuesque quality in the figure which strikes one immediately … The handling of the paint is all that we expect of Mr Sickert, and perhaps even more free and brilliant than usual. The colour is equally beautiful, the prevailing brown-pink being quickened with one single note of bright green, and the dull slate black background – perhaps the photograph suggested this – making an unexpected, almost eccentric, but still a successful contrast with the play of colour on the dress.17

.
Although Sickert had depicted a performance from nine years before, there was a sense of topicality about the work that contributed to its popularity. Ffrangcon-Davies was a contemporary star of the stage, most famous for her performance as Juliet to John Gielgud’s Romeo. At the same time as her portrait was on display in St James’s she was appearing at the Wyndham’s Theatre in nearby Charing Cross in her latest play, The Way to the Stars. The Morning Post attributed at least some of the painting’s success to the genius of the subject rather than the artist: ‘The poise of the figure has a Tintoretto like monumentality, but the face and eyes suggest the latent powers of expression that make her supreme on the stage.’18 The Western Morning News saw Sickert as resurrecting the grand tradition of portraits of London thespians made famous by Sir Joshua Reynolds (1723-1792).19 The large scale of the picture, the dramatic full-length figure, and the focus on a dominant, scheming literary female character may also have a visual precedent in John Singer Sargent’s painting, Ellen Terry as Lady Macbeth 1889 (Tate N02053, fig.2). Miss Gwen Ffrangcon-Davies marked a revival in Sickert’s interest in the stage and over the next ten years he painted a number of actors and actresses in character including Edith Evans, Fabia Drake, Paul Robeson, Leslie Banks, Sir Nigel Playfair, Johnstone Forbes-Robertson, Valerie Tudor and William Fox and Peggy Ashcroft (see Tate T06601).

 

Photographic source

Amidst the glowing reviews in the newspapers, the Manchester Evening News also published an interview with Ffrangcon-Davies concerning the circumstances of the picture.20 In the article, entitled ‘A Portrait I Never Sat For’, the actress emphasised that the painting was entirely based upon a photographic source. Sickert’s own ready confirmation of the fact was also quoted in a typically teasing statement:

I have made it quite clear by painting ‘Bertram Park Photo’ in a corner of the canvas that the portrait was copied from a photograph. The photographer has done all the ground work for me. He has caught the life and movement of the pose. So he deserves his name in a prominent position. Painting a portrait is like catching a butterfly. I have painted portraits with my subject before me. But it is seldom absolutely satisfactory. Your sitter, particularly if she is a lady, dislikes keeping regular appointments. She is often late. The artist resents his time being wasted. When his subject does arrive she finds it difficult to sit perfectly still for long intervals. Her irritation shows in her face. That expression very often steals into the portrait. I find a document from which to copy a satisfactory way of painting a portrait.21

.
Comparison of the painting with the original photograph (as reproduced in Vogue, December 1923)22 demonstrates Sickert’s ability to reproduce faithfully a found image and yet also subtly alter the visual emphasis of that image to achieve a new aesthetic effect. In this instance he reduced the background space surrounding the actress, particularly on the right-hand side where the pictorial edge truncates the figure of the queen. She therefore appears to dominate utterly the space she inhabits. The instantaneous, innocuous quality of Park’s photograph of Ffrangcon-Davies self-consciously waiting in the wings is replaced in the painting by a sense of dramatic monumentality and suspense. The actress seems to occupy the character of the scheming queen wholly and her white face and immense dark eyes appear skull-like and ghostly against the darkness of the background. She looks imperious and dangerous, yet beautiful and awe-inspiring. As the art historian David Peters Corbett has pointed out, Sickert’s transformation of the candid neutrality of the photograph into the high tension and sagacity of the painting asserts unequivocal artistic control over an image, which he freely admits was not of his making.23 Sickert’s carefully inserted painted allusion to the role of the photographer Bertram Park is ultimately offset, and even countermanded, by the visibility of his own lines of squaring-up within the figure of the actress. Some of these lines even appear to have been strengthened over the top of the preceding painted layers thereby making transparent the artist’s creative ownership of the image.

Sickert’s use of images derived from photographs has drawn both condemnation and praise from contemporary and subsequent commentators. Despite the critical success of Miss Gwen Ffrangcon-Davies as Isabella of France other paintings based upon photographic sources attracted frequent criticism (see, for example, Miss Earhart’s Arrival, Tate T03360). The appropriation of found images and the imitative element of the process represented, to some, evidence of Sickert’s declining creative faculties. Even those whom Sickert counted as friends struggled with the artistic credibility of his later works. The painter William Rothenstein, for example, wrote in his memoirs that ‘the enlargements he [Sickert] makes from photographs of his sitters, of actors and actresses especially, are scarcely worthy of him or of his subjects’.24 He complained: ‘Occasionally one is asked to paint a posthumous portrait from photographs: to me, always an unattractive task. But Sickert delights in painting posthumous presentments of the living!’25 D.S. MacColl similarly thought that Sickert’s photograph-based paintings ought ‘not to be remembered against him’.26 In more recent years, however, the practice has been reinterpreted as a highly original artistic approach, prophetic of the celebrated photograph-based works by such painters as Francis Bacon and Andy Warhol.27

Sickert once said that photography was like alcohol: it should only be used by someone who could do without it.28 His paintings based upon photographic sources are neither artistically inferior nor inherently original. Many artists used photographs as a visual aid to painting, although few admitted to it as openly and readily as Sickert. Throughout his career he struggled with the quest for technical solutions to the problems of making art. He believed he had found the answer to painting by around 1915 and continued to try and persuade artists to follow his scheme throughout his life. In 1934 he lectured to a group of art students: ‘I am going to tell you in about ten minutes of a quarter of hour how to paint and what painting consists of … You simply use materials which you can buy anywhere and if you know how to use them and use them properly it is very simple.’29 However, he continued to struggle with capturing the essence of a subject in line, through drawing, for the rest of his life. His use of photographs as a compositional and structural basis for painting was a natural progression from his previous reliance on drawings, or as the art historian Rebecca Daniels has described it, a modernisation of the process of sketching.30 He believed that the snapshot photograph captured the same essence of a sitter’s appearance and character as the rapid sketching technique he had endorsed until then. He summarised his opinions in an article of 1929:

A photograph is the most precious document obtainable by a sculptor, a painter, or a draughtsman. Canaletto based his work on tracings made with the camera lucida. Turner’s studio was crammed with negatives. Moreau-Néalton’s biography of Millet contains documentary evidence that Millet found photographs of use. Degas took photographs. Lenbach photographed his sitters. To forbid the artist the use of available documents of which the photograph is the most valuable, is to deny to a historian the study of contemporary shorthand reports. The facts remain at the disposition of the artist. I am for the lean ‘war’ horse.31

.
The precedent for using photographs in this way is apparent in the work of Sickert’s most revered mentor, Edgar Degas (1834-1917). Sickert was certainly familiar with one portrait by Degas based upon a photograph, Princess Pauline de Metternich c. 1865 (National Gallery, London, formerly Tate Gallery),32 which he praised in a catalogue essay of March 1923.33 Degas’s portrait of the wife of the Austro-Hungarian ambassador to Paris is partially based on a photograph by Eugène Disderi used by the subject as a ‘carte-de-visite’.34 In a manner that recalls Sickert’s treatment of the photograph of Gwen Ffrangcon-Davies, Degas cropped the image (removing the figure of the princess’s husband) and imposed upon the composition an imagined colour scheme and decorative background. The artist has also acknowledged the photographic source of the portrait, deliberately blurring and softening the features of the sitter so that they appear indistinct, as though she has moved during the exposure. Both Sickert and Degas exploited photography as a modern form of image-making but, rather than being slavish imitators of the characteristics of the art, they used it solely as a useful tool at their disposal. They selected or ‘teased’ elements from photographs but always sought to reassert their own artistic dominance over the original source. Sickert compared this process to an actor reinterpreting a role in the theatre.35

Extract from Nicola Moorby. “Miss Gwen Ffrangcon-Davies as Isabella of France 1932,” on the Tate website September 2005 [Online] Cited 17/05/2022

 

Footnotes

7. Tate Archive TAV 564A.
8. Outlook, 24 November 1923, quoted in Rose 2003, p. 34.
9. Ralph Wright, New Statesman, November 1923, quoted in Rose 2003, p. 34.
10. Saturday Review, quoted in Rose 2003, p. 34.
11. ‘Walter Sickert’s Class: Method of Instruction’, Manchester Guardian, 31 October 1930.
12. Gwen Ffrangcon-Davies, unpublished diary entry, 7 April 1932, photocopy in Tate Catalogue file.
13. Walter Sickert, transcription of letter to Gwen Ffrangcon-Davies, 25 July 1932, Tate Archive.
14. R.R. Tatlock, ‘Sickert’s New Masterpiece’, Daily Telegraph, 6 September 1932.
15. Quoted in Rose 2003, p. 61.
16. Tatlock, 6 September 1932.
17. ‘A Portrait by Mr Sickert’, Times, 7 September 1932.
18. Quoted in Rose 2003, p. 61.
19. Western Morning News, 7 September 1932.
20. ‘A Portrait I Never Sat For – Miss Ffrangcon-Davies’, Manchester Evening News, 6 September 1932.
21. Ibid.
22. Reproduced in Sickert: Paintings, exhibition catalogue, Royal Academy, London 1992, fig. 215, p. 310.
23. David Peters Corbett, Walter Sickert, London 2001, p. 60.
24. William Rothenstein, Since Fifty: Men and Memories, 1922-1938, London 1939, p. 276.
25. Ibid., p. 16.
26. Quoted in Richard Shone, Sickert in the Tate, exhibition catalogue, Tate Liverpool 1989, p. 13.
27. Richard Morphet, ‘The Modernity of Late Sickert’, Studio International, vol. 190, July-August 1975, p. 35.
28. Cicely Hey, Walter Sickert 1860-1942: Sketch for a Portrait, 10 February 1961, BBC Home Service, LP 26655, Side 1.
29. Walter Richard Sickert, ‘Engraving, Etching, Etc.’, Lecture at Margate School of Art, 23 November 1934, in Anna Gruetzner Robins (ed.), Walter Sickert: The Complete Writings on Art, Oxford 2000, p. 661.
30. Rebecca Daniels, ‘Richard Sickert: The Art of Photography’, in Walter Sickert: ‘drawing is the thing’, exhibition catalogue, Whitworth Art Gallery, Manchester 2004, p. 27.
31. Walter Richard Sickert, ‘Artists and the Camera’, Times, 15 August 1929, in Robins (ed.) 2000, p. 591.
32. Reproduced at National Gallery, London, http://www.nationalgallery.org.uk/paintings/hilaire-germain-edgar-degas-princess-pauline-de-metternich, accessed March 2011.
33. Walter Richard Sickert, ‘The Sculptor of Movement’, in Exhibition of the Works in Sculpture of Edgar Degas, Leicester Galleries, London 1923, in Robins (ed.) 2000, p. 457.
34. Reproduced in David Bomford, Art in the Making: Degas, exhibition catalogue, National Gallery, London 2004, p. 62.
35. Walter Sickert, ‘Squaring up a Drawing’, Lecture at Margate School of Art, 2 November 1934, in Robins (ed.) 2000, p. 637.

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at second left The Front at Hove (Turpe Senex Miles Turpe Senilis Amor) 1930 below; at second right, The Servant of Abraham 1929 below; and at right Lazarus Breaks His Fast 1927 below

 

Walter Richard Sickert (British, 1860-1942) 'The Front at Hove (Turpe Senex Miles Turpe Senilis Amor)' 1930

 

Walter Richard Sickert (British, 1860-1942)
The Front at Hove (Turpe Senex Miles Turpe Senilis Amor)
1930
Oil paint on canvas
Support: 635 × 762 mm
Frame: 824 × 950 × 100 mm
Tate
Purchased 1932

 

Walter Richard Sickert (British, 1860-1942) 'Self-Portrait. Lazarus Breaks his Fast' c. 1927

 

Walter Richard Sickert (British, 1860-1942)
Self-Portrait. Lazarus Breaks his Fast
c. 1927
Oil paint on canvas
152 x 121cm
Herbert Art Gallery and Museum
Purchased from the artist, 1960

 

 

This work is the first of a series of three self-portraits with biblical titles that Sickert painted in the late 1920s. Made soon after he had recovered from a serious illness, the title refers to a man who Christ raised from the dead. The composition was based on a photograph of Sickert take by his wife Thérèse Lessore. Imitating the tonal contrast of the photograph allowed Sickert to abandon line, constructing the painting from loosely painted patches of colour. Sickert was also interested in how photography could freeze a dramatic moment.

Wall text

 

Walter Richard Sickert (British, 1860-1942) 'The Servant of Abraham' 1929

 

Walter Richard Sickert (British, 1860-1942)
The Servant of Abraham
1929
Oil paint on canvas
Support: 610 × 508 mm
Frame: 815 × 717 × 78 mm
Tate. Presented by the Friends of the Tate Gallery 1959

 

 

In contrast to the unkempt and vulnerable figure in Lazarus Breaks his Fast, displayed nearby, here Sickert presents himself as a powerful biblical figure. Although the picture is relatively small, the artist’s head is larger than life-size. He appears to loom over the viewer, evoking a forceful presence. The dramatic framing can be compared to modern form of image-making such as photography and cinematography. Sicker imagined the work as part of a larger wall-painting stating, ‘We cannot well have pictures on a large scale nowadays, but we can have small fragments of pictures on a colossal scale’.

Wall text

 

This is, in fact, a self-portrait. Sickert painted himself many times, and during the 1920s he sometimes depicted himself as a biblical figure. He made this at the age of sixty-nine, working from a squared-up photograph which had been taken by his third wife, Thérèse Lessore. He intended that it should look like part of a larger wall-painting and observed, ‘We cannot well have pictures on a large scale nowadays, but we can have small fragments of pictures on a colossal scale’. Abraham was an Old Testament patriarch, but it is not known why Sickert chose this title, or why he felt it applicable to himself.

Gallery label, August 2004

 

Thérèse Lessore photograph of Walter Sickert

 

Thérèse Lessore photograph of Walter Sickert

 

 

Walter Richard Sickert was an English painter and printmaker who was a member of the Camden Town Group in London. He was an important influence on distinctively British styles of avant-garde art in the 20th century.

Sickert was a cosmopolitan and eccentric who often favoured ordinary people and urban scenes as his subjects. His work also included portraits of well-known personalities and images derived from press photographs. He is considered a prominent figure in the transition from Impressionism to Modernism.

Sickert was born in Munich, Germany on 31 May 1860, the eldest son of Oswald Sickert, a Danish-German artist, and his wife, Eleanor Louisa Henry, who was an illegitimate daughter of the British astronomer Richard Sheepshanks. In 1868, following the German annexation of Schleswig-Holstein, the family settled in Britain, where Oswald’s work had been recommended by Freiherrin Rebecca von Kreusser to Ralph Nicholson Wornum, who was Keeper of the National Gallery at the time. The family obtained British nationality. The young Sickert was sent to University College School from 1870 to 1871, before transferring to King’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 Sir Henry Irving’s company, before taking up the study of art in 1881. After less than a year’s attendance at the Slade School, Sickert left to become a pupil and etching assistant to James Abbott McNeill Whistler. Sickert’s earliest paintings were small tonal studies painted alla prima from nature after Whistler’s example.

In 1883, he travelled to Paris and met Edgar Degas, whose use of pictorial space and emphasis on drawing would have a powerful effect on Sickert’s 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”. In 1888 Sickert joined the New English Art Club, a group of French-influenced realist artists. Sickert’s first major works, dating from the late 1880s, were portrayals of scenes in London music halls. 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”. 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. The painting announced what would be Sickert’s recurring interest in sexually provocative themes.

In the late 1880s, Sickert spent much of his time in France, especially in Dieppe, 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. Between 1894 and 1904 Sickert made a series of visits to Venice, initially focusing on the city’s topography; it was during his last painting trip in 1903-1904 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. The models for many of the Venetian paintings are believed to have been prostitutes, with whom Sickert may have had sex.

Sickert’s fascination with urban culture accounted for his acquisition of studios in working-class sections of London, first in Cumberland Market in the 1890s, then in Camden Town in 1905. The latter location provided an event that would secure Sickert’s prominence in the realist movement in Britain. 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. The Camden Town 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.

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’s Interior, the documentary realism of the Camden Town paintings was without precedent in British art. These and other works were painted in heavy impasto and narrow tonal range. Sickert’s best known work, Ennui (c. 1913), 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, as though they can no longer communicate with each other.

Anonymous text on the Arts Dot website Nd [Online] Cited 08/05/2022

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation view of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing at left, High-Steppers about 1938-1939 below; and at right, Variation on ‘Othello’ c. 1933-1934 below

 

Walter Richard Sickert (British, 1860-1942) 'High-Steppers' about 1938-1939

 

Walter Richard Sickert (British, 1860-1942)
High-Steppers
About 1938-1939
Oil on canvas
132.00 x 122.50cm
Framed: 149.50 x 139.50 x 10.00cm
National Galleries of Scotland
Purchased 1979

 

 

High-Steppers is probably Sickert’s last painting to show a theatre scene, one of his favourite subjects. It is his third painting of the Plaza Tiller Girls, a dance troupe who performed at the Plaza cinema in Piccadilly, entertaining the audience before the start of the film. Although Sickert was a frequent visitor to the theatre, he never made any drawings or paintings there; instead, he preferred to work from press photographs. All three paintings of the Plaza Tiller Girls were based on a photograph which appeared in The Evening News in 1927.

 

Walter Richard Sickert (British, 1860-1942) 'Variation on 'Othello'' c. 1933-1934

 

Walter Richard Sickert (British, 1860-1942)
Variation on ‘Othello’
c. 1933-1934
Oil paint on canvas
1100 × 730 mm
Bristol Culture: Bristol Museums & Art Gallery

 

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

Installation view of the exhibition 'Walter Sickert' at Tate Britain, May - September 2022

 

Installation views of the exhibition Walter Sickert at Tate Britain, May – September 2022 showing in the bottom photograph at top left, King George V and his Racing Manager – A Conversation Piece at Aintree 1927 below; at second left, Edward VIII 1936 below; and at right, The Seducer c. 1929-1930 below

 

Walter Richard Sickert (British, 1860-1942) 'King George V and his Racing Manager: A Conversation Piece at Aintree' 1927

 

Walter Richard Sickert (British, 1860-1942)
King George V and his Racing Manager: A Conversation Piece at Aintree
1927
Oil on canvas
The Royal Collection Trust

 

 

This portrait was closely based on a press photograph published in ‘The News Chronicle’ in March 1927, showing King George V, in profile, alongside Major Fetherstonhaugh, his racing manager from 1922-31. The King attended Aintree on 25 March, without Queen Mary and his Diary recalls: ‘Rained in sheets all the morning. Cleared up before the first race. There were large crowds. The Grand National was won by Mrs Partridges’s “Sprig”…, there were 37 runners, a very good race and no one hurt at all.’

Sickert blatantly acknowledged the source of the painting in the inscription on the upper left: ‘By Courtesy of Topical Press… 11 + 12 Red Lion / Court E.C.4. / Aintree 25.3.27’, and he allowed the painting and the photograph to be reproduced side by side. This act brought into focus the continuing debate on originality in art and the relationship between painting and photography. In a lecture in 1934 he recalled that ‘… neither knew they were being photographed. In those circumstances you get much more information… the expression that Major Featherstonaugh’s face was so very interesting’.

Sickert was to paint the King again in 1935, on this occasion with Queen Mary on a Jubilee drive (private collection). This portrait was also painted from a press photograph and it similarly captures the immediacy of a sudden, fleeting moment. It is interesting to recall that in 1883 Sickert met Edgar Degas, who too used photographs throughout his working life often wishing to create an intimate view, painted as if ‘through a keyhole’.

The painting was offered to Glasgow City Art Gallery in 1931, but deemed insufficiently majestic. It was also rejected by the Tate, the Victoria Art Galley, Bath and by George VI and Queen Elizabeth in 1939 before its eventual purchase by Queen Elizabeth in 1951.

Text from the Google Arts & Culture website

 

Walter Richard Sickert (British, 1860-1942) 'Edward VIII' 1936

 

Walter Richard Sickert (British, 1860-1942)
Edward VIII
1936
Oil on canvas

 

 

The last gallery astounds, even today, with its photo-based paintings from the late 1920s and 30s. Alexander Gavin Henderson, 2nd Lord Faringdon descends a staircase, all in white, like a bleached Luc Tuymans. Edward G Robinson and Joan Blondell leer out of the limelight of a gangster movie poster in an amazing work of proto pop. Most haunting of all is a portrait of Edward VIII emerging from a limousine in 1936. It shows Sickert as the most incisive – and premonitory – of history painters. The king’s legs are spindly, his sideways gaze shifty and he holds a busby to himself like an impotent shield. He is fading out already, eyes and face growing spectral in Sickert’s pale paint. Two months later, he will abdicate.

Laura Cumming. “Walter Sickert review – a master of menace,” on The Guardian website Sun 1 May 2022 [Online] Cited 12/05/2022

 

Walter Richard Sickert (British, 1860-1942) 'The Seducer' c. 1929-1930

 

Walter Richard Sickert (British, 1860-1942)
The Seducer
c. 1929-1930
Oil paint on canvas
Support: 425 × 625 mm
Frame: 589 × 766 × 70 mm
Tate
Purchased 1989

 

 

The Seducer is an example of Sickert’s late work which he called ‘echoes’. These were subject pictures and portraits based on and ‘echoing’ black and white 19th century prints and illustrations. Sickert’s father had been an illustrator and the ‘echoes’ are replete with a sense of nostalgia for the Victorian era. This example is based on an original by Sir John Gilbert (1819-1897) whose romantic and melodramatic narratives Sickert admired.

Gallery label, August 2004

 

Walter Richard Sickert (British, 1860-1942) 'Pimlico' c. 1937

 

Walter Richard Sickert (British, 1860-1942)
Pimlico
c. 1937
Oil on canvas
Aberdeen City Council (Art Gallery & Museums Collections)
Purchased in 1938 with income from the Macdonald Bequest

 

 

Tate Britain
Millbank, London SW1P 4RG
United Kingdom
Phone: +44 20 7887 8888

Opening hours:
10.00am – 18.00pm daily

Tate Britain website

LIKE ART BLART ON FACEBOOK

Back to top

14
Nov
21

Exhibition: ‘John Coplans: La Vie Des Formes’ at Fondation Henri Cartier-Bresson, Paris

Exhibition dates: 5th October 2021 – 16th January 2021

Curators: Jean-François Chevrier and Élia Pijollet

 

 

John Coplans (British, 1920-2003) 'Self Portrait (Two Hands Together)' 1988

 

John Coplans (British, 1920-2003)
Self Portrait (Two Hands Together)
1988
Gelatin Silver Print
101.5 x 110.8cm (39.89 x 43.54 ins)
© The John Coplans Trust

 

 

A magnificent posting on the work of John Coplans whose art practice resulted in a photo essay, an extended, creative “body” of work (pardon the pun) which investigated the form, mass, volume and shape of the ageing human body – namely his own (as an auteur) – resulting in the most significant representation of the older human body in the history of photography.

Referencing the abstractions of Aaron Siskind’s Martha’s Vineyard rock formations and Bill Brandt’s nudes on the coast of East Sussex, Coplans abstracts the human body into singular and overlapping forms using shape, multiple self-portrait, multiple prints as frieze and mismatched dissections. As seen in the installation photographs in the video below, Coplans also pulls and pushes at the viewers perception of the scale of representation, the orientation of the body and the physicality of the photograph in the gallery space: a fragmented hand is larger and more imposing than a dissected foot; the body “lies” vertically upside down in Upside down No. 1 (1992, below); and the mass of the back overwhelms the viewer in Back with Arms Above (1984, below). Coplans depictions of large buttocks and back confront the viewer at eye level, much as Carravagio’s use of foreshortening in his paintings disturbed the status quo of the pictorial space in a church especially when seen by candlelight.

The artist frees the body from aesthetics – and the body becomes an/other structure, free of architecture.

This is not a degraded body but another body that just is… not the physicality of the body and certainly not my body as a temple, but an anti-commercial body, one that states that this is what we inevitably will become, despite our attempts to keep our beauty and attain immortality. This is about a recognition of the body as being undeniably present accepting an entire range of corpo/reality. While movement and action are suppressed (in stillness), change is the problem that Coplans has attempted to re/present – that is, “an attempt to capture a moment of transformation. In this case, it is both a physical change and a psychological set of responses…”1 Old age and mortality, age and youth, beauty.

I can also feel – sense, that Coplans work of the body is a tone poem, a piece of music (typically of one movement) on a descriptive theme. Tone is “often described as a “mood” that pervades the experience of reading the poem [as interpreted by the reader], it is created by the poem’s vocabulary, metrical regularity or irregularity, use of figurative language, and rhyme.”2 Here, Coplans figurative language (his life of forms) creates comparisons by linking the senses and the concrete to abstract ideas: the concreteness of the photograph to how we feel about an ageing body or, indeed, our own ageing body; the time freeze of the photograph to the feeling of lost youth; the immortality of the photograph to the knowledge that the artist is alive and dead – we have his preserved, embalmed, dissected body before us but what about his other, spirit?

We can know the phenomenal (the world of representation) but all we can ever do is intimate the noumenal world, the unknowable noumenon as an entity to which we can directly relate but can never know (we can know of death but never experience it).

Dr Marcus Bunyan

 

Footnotes

  1. Christopher P. Jones. “Great Paintings: Caravaggio’s ‘The Supper at Emmaus’,” on the Thinksheet magazine website Aug 30, 2019 [Online] Cited 14/11/2021
  2. Unknown author. “Tone,” in Glossary of Poetic Terms on the Poetry Foundation website Nd [Online] Cited 14/11/2021

.
Many thankx to the Fondation Henri Cartier-Bresson for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

In early October, the new exhibition on John Coplans will open at Fondation Henri Cartier-Bresson, curated by Jean-François Chevrier and Élia Pijollet. It stands out through its selection and conversations with artists that Coplans admired, such as Brancusi, Weegee, Walker Evans, Lee Friedlander, Philip Guston and Jan Groover.

A formal and fearless photographer, Coplans uses his naked body as the sole material for his sensual, disconcerting, radical and personal compositions. Comprised of original works on loan from numerous French institutions and private lenders, this exhibition breaks new ground for the Fondation HCB, with a rare bird from the history of photography.

 

 

 

Teaser de l’exposition John Coplans – La vie des formes

 

 

Exhibition

Fondation HCB is presenting a remarkable exhibition on the oeuvre of John Coplans (1920-2003), in collaboration with Le Point du Jour, Centre d’Art Éditeur in Cherbourg-en-Cotentin. Works on show here, on loan from French collections, testify to the audacity of this British artist, known for uncompromising representations of his body.

Coplans, who emigrated to the United States at the start of the 1960s, was at first painter, art critic, museum director and curator before devoting himself fully to photography in the early 1980s. At sixty years old, after twenty years of promoting the work of other artists, he retired to take up a life in art. He then developed a photography practice in which he represented himself nude, in black and white and often fragmented, his head always out of frame. To all these images, produced between 1984 and 2002, he attributed the generic title Self Portrait; descriptive titles and subtitles specify the body part depicted or the posture.

As a primary, unique and impersonal object, the body is a medium for jubilant, ever-renewed explorations of the life of form. Coplans’ work, often reductively seen as a representation of the ageing body, has lighter, more universal ambitions and inscribes in a long history of art forms through its metaphorical connections to nature or sculpture. His oeuvre redefines the meaning of age, no longer a progression towards the end of life, instead, an opportunity for a long-term record of humankind and an initiative for recollecting primitive forms.

The absence of the face, and the choice of the fragment as plastic element released a flood of inventions and formal analogies that seemed inexhaustible, only stopping with the artist’s passing. Coplans’ images are by turns subdued and explosive, funny, provocative and always carefully considered. They answer to a demand for clarity that transfigures expressionist pathos.

The exhibition La Vie des Formes (Life of Forms) is structured in three sets presented chronologically. First, small prints made at the start of Coplans’ career in photography (Torso, Back, Hands, Feet…); followed by, in 1988, large formats and montage combining several body fragments to create a single but disjointed image; and finally, as a great connoisseur of art history, Coplans integrated research on artists he studied, exhibited and knew into his own work, and a selection of works by these artists (Brancusi, Carleton Watkins, Walker Evans, Lee Friedlander, Jan Groover, Weegee…) is presented.

 

Biography

John Coplans was born in London in 1920. The son of a doctor in medicine and art amateur, he spent most of his childhood between London and South Africa. In 1937, aware of the global danger posed by Nazi Germany, he joined the British army. He fought until 1945 in East Africa, then in India and Burma.

In 1946, John Coplans started an art degree but quickly gave up. He moved to London. For ten years or so, he has painted and contributed to the rise of abstract art, in the wake of lyrical abstraction, then Hard Edge. In 1960, Coplans emigrated to the United States and moved to San Francisco. In 1962, he participated in the creation of Artforum. The magazine quickly established itself as a monthly reference for art and creative news. The first of its kind on the West Coast, it supported and united artists, helping to bring out the “Los Angeles scene” and “West Coast art”. Coplans was its editor from 1971 to 1977 (in New York, where the magazine moved in 1967).

John Coplans was also a curator, director of the Art Gallery of the University of California at Irvine (1965-1967) and Senior Curator of the Pasadena Art Museum in (1967-1970). From 1978 to 1980, he directed the Akron Art Museum, Ohio. At this time, he began his first photographic experiments.

In 1980, he decided to cease these activities to become an artist again and to devote himself to photography. He moved to New York. From 1985 onwards, he exhibited regularly in France and Europe. In 1988, the San Francisco Museum of Modern Art (SFMOMA) set up the first major exhibition of the photographer, which was then presented at the MoMA in New York the same year. John Coplans died in New York on August 21, 2003.

 

Publication

The exhibition will be accompanied by a book published by Le Point du Jour: John Coplans. Un corps, under the guidance of Jean-François Chevrier.

Press release from the Fondation Henri Cartier-Bresson

 

John Coplans (British, 1920-2003) 'Self-Portrait: Three Times' 1987

 

John Coplans (British, 1920-2003)
Self-Portrait: Three Times
1987
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Self Portrait: Six Times' 1987

 

John Coplans (British, 1920-2003)
Self Portrait: Six Times
1987
Gelatin Silver Prints
© The John Coplans Trust

 

 

Emigrating to the United States in the early 1960s, John Coplans was first a painter, art critic, museum director and curator, before devoting himself fully to photography in the early 1980s. At the age of sixty, after having spent twenty years promoting the work of other artists, he retires to reconnect with the experience of creation. He then developed a photographic practice in which he represented his naked body, in black and white, often fragmented, his head always out of view. He used for all these images made between 1984 and 2002 the generic title Self Portrait; descriptive titles and sub-titles specify the body part or posture depicted.

 

John Coplans (British, 1920-2003) 'Knees with Fist' 1984

 

John Coplans (British, 1920-2003)
Knees with Fist
1984
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Foot, Four Panels' 1988

 

John Coplans (British, 1920-2003)
Foot, Four Panels
1988
Gelatin Silver Prints
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Double Feet, Five Panels' 1988

 

John Coplans (British, 1920-2003)
Double Feet, Five Panels
1988
Gelatin Silver Prints
© The John Coplans Trust

 

Bill Brandt (British, born Germany 1904-1983) 'Nude, East Sussex coast' 1959

 

Bill Brandt (British born Germany, 1904-1983)
Nude, East Sussex coast
1959
Gelatin silver print

Used under fair use conditions for the purpose of education

 

John Coplans (British, 1920-2003) 'Hand, Two Panels, Vertical' 1988

 

John Coplans (British, 1920-2003)
Hand, Two Panels, Vertical
1988
Gelatin Silver Prints
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Self-Portrait (Back of Hand, No. 1)' 1986

 

John Coplans (British, 1920-2003)
Self-Portrait (Back of Hand, No. 1)
1986
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Self-Portrait (Front Hand, No. 3)' 1987

 

John Coplans (British, 1920-2003)
Self-Portrait (Front Hand, No. 3)
1987
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Self-Portrait (Front Hand No. 6, Middle Fingers down)' 1988

 

John Coplans (British, 1920-2003)
Self-Portrait (Front Hand No. 6, Middle Fingers down)
1988
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Front Hand, Thumb Up, Middle' 1988

 

John Coplans (British, 1920-2003)
Front Hand, Thumb Up, Middle
1988
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Clenched thumb No. 2' 1988

 

John Coplans (British, 1920-2003)
Clenched thumb No. 2
1988
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Self-Portrait (Clenched Thumb Sideways)' 1988

 

John Coplans (British, 1920-2003)
Self-Portrait (Clenched Thumb Sideways)
1988
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Back with Arms Above' 1984

 

John Coplans (British, 1920-2003)
Back with Arms Above
1984
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Body Parts, No. 8' 2001

 

John Coplans (British, 1920-2003)
Body Parts, No. 8
2001
Gelatin Silver Prints
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Back Torso From Below' 1985

 

John Coplans (British, 1920-2003)
Back Torso From Below
1985
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Torso' 1984

 

John Coplans (British, 1920-2003)
Torso
1984
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Hands Holding Feet' 1985

 

John Coplans (British, 1920-2003)
Hands Holding Feet
1985
Gelatin Silver Prints
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Hands spread on knees' 1985

 

John Coplans (British, 1920-2003)
Hands spread on knees
1985
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Self-Portrait: Hands Squeezing Knees' 1985

 

John Coplans (British, 1920-2003)
Self-Portrait: Hands Squeezing Knees
1985
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Reclining Back, Three Panels, Left' 1990

 

John Coplans (British, 1920-2003)
Reclining Back, Three Panels, Left
1990
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Upside down No. 1' 1992

 

John Coplans (British, 1920-2003)
Upside down No. 1
1992
Gelatin Silver Print
© The John Coplans Trust

 

Aaron Siskind (American, 1903-1991) 'Untitled (Martha's Vineyard)' 1954

 

Aaron Siskind (American, 1903-1991)
Untitled (Martha’s Vineyard)
1954
Gelatin silver print
33.9 × 26.5cm (image); 35.2 × 28cm (paper)
Art Institute of Chicago, Gift of Richard L. Menschel
© Aaron Siskind Foundation

Used under fair use conditions for the purpose of education

 

John Coplans (British, 1920-2003) 'Torso Front' 1984

 

John Coplans (British, 1920-2003)
Torso Front
1984
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Lying Figure, Holding Leg, Four Panels' 1990

 

John Coplans (British, 1920-2003)
Lying Figure, Holding Leg, Four Panels
1990
Gelatin Silver Print
© The John Coplans Trust

 

John Coplans (British, 1920-2003) 'Feet, Frontal' 1984

 

John Coplans (British, 1920-2003)
Feet, Frontal
1984
Gelatin Silver Print
© The John Coplans Trust

 

 

Fondation Henri Cartier-Bresson
79 rue des Archives
75003 Paris

Opening hours:
Tuesday – Sunday
11am – 7pm
Closed on Mondays

Fondation Henri Cartier-Bresson website

LIKE ART BLART ON FACEBOOK

Back to top

31
Jul
21

Exhibition: ‘Barbara Hepworth: Art & Life’ at the Hepworth Wakefield, Wakefield, West Yorkshire

Exhibition dates: 21st May 2021 – 27th February 2022

 

Barbara Hepworth (English, 1903-1975) 'Pierced Hemisphere' 1937

 

Barbara Hepworth (English, 1903-1975)
Pierced Hemisphere
1937
White marble
The Hepworth Wakefield (Wakefield Permanent Art Collection)
Barbara Hepworth © Bowness
Photo: Norman Taylor

 

 

As a bit of a break from photography, something very special this weekend especially for me. I adore this artist’s work.

Solid / voids
space / forms
still / movements
pierced / circles
memory / landscapes
music / curves
Spirit / leaps!

 

Dr Marcus Bunyan

.
Many thankx to the Hepworth Wakefield for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

“The relationship between humans and landscape played a key role in Hepworth’s creative development. In 1949, she settled down in St Ives, Cornwall, where she stayed until her death. The harmony of the sea, earth and rocks in this remote part of England had a significant impact on her.”

 

 

“Barbara Hepworth is one of the most important artists of the 20th century, with a unique artistic vision that demands to be looked at in-depth. This exhibition will shine a light on Hepworth’s wide-ranging interests and how they infused her art practice. Deeply spiritual and passionately engaged with political, social and technological debates in the 20th century, Hepworth was obsessed with how the physical encounter with sculpture could impact the viewer and alter their perception of the world.”

.
Eleanor Clayton, Curator

 

“Hole turned out to be spelt with a W as well as an H. Holes were not gaps, they were connections. Hepworth made the hole into a connection between different expressions of form, and she made space into his own form.”

.
Jeannette Winterson

 

“I rarely draw what I see –
I draw what I feel in my body”

.
Barbara Hepworth

 

 

Installation image of 'Barbara Hepworth: Art & Life' at the Hepworth Wakefield

Installation image of 'Barbara Hepworth: Art & Life' at the Hepworth Wakefield

 

Installation images of Barbara Hepworth: Art & Life at the Hepworth Wakefield showing in the bottom image at right Single Form (September) (BH 312) in figured walnut, and a photograph at left of Single Form (1964) displayed near the pool in front of the United Nations Secretariat Building.
Photos: Nick Singleton

 

Barbara Hepworth (English, 1903-1975) 'Single Form (Chun Quoit)' 1961

 

Barbara Hepworth (English, 1903-1975)
Single Form (Chun Quoit)
1961
Plaster, painted brown
© Bowness, Hepworth Estate
Photo: Mark Heathcote

 

Barbara Hepworth working on the armature of 'Single Form' in the Palais de Danse, St Ives 1961

 

Barbara Hepworth working on the armature of Single Form in the Palais de Danse, St Ives
1961
© Bowness
Photo: Studio St Ives

 

Barbara Hepworth with the plaster prototype for the United Nations 'Single Form' at the Morris Singer foundry, London May 1963

 

Barbara Hepworth with the plaster prototype for the United Nations Single Form at the Morris Singer foundry, London
May 1963
Photo: Morgan-Wells
Barbara Hepworth © Bowness

 

'Barbara Hepworth: Art & Life' poster

 

Barbara Hepworth: Art & Life poster

 

Installation image of 'Barbara Hepworth: Art & Life' at the Hepworth Wakefield

Installation image of 'Barbara Hepworth: Art & Life' at the Hepworth Wakefield

Installation image of 'Barbara Hepworth: Art & Life' at the Hepworth Wakefield

Installation image of 'Barbara Hepworth: Art & Life' at the Hepworth Wakefield

 

Installation images of Barbara Hepworth: Art & Life at the Hepworth Wakefield.
Photos: Nick Singleton

 

Barbara Hepworth (English, 1903-1975) 'Kneeling Figure' 1932

 

Barbara Hepworth (English, 1903-1975)
Kneeling Figure
1932
Rosewood
Purchased with aid from the Wakefield Permanent Art Fund (Friends of Wakefield Art Galleries and Museums), V&A Purchase Grant Fund and Wakefield Girls’ High School, 1944
© Bowness, Hepworth Estate
Photo: Jerry Hardman-Jones

 

Installation image of 'Barbara Hepworth: Art & Life' at the Hepworth Wakefield

Installation image of 'Barbara Hepworth: Art & Life' at the Hepworth Wakefield

Installation image of 'Barbara Hepworth: Art & Life' at the Hepworth Wakefield

 

Installation images of Barbara Hepworth: Art & Life at the Hepworth Wakefield showing in the bottom image at centre, Spring (1966)
Photos: Nick Singleton

 

Barbara Hepworth (English, 1903-1975) 'Spring' 1966

 

Barbara Hepworth (English, 1903-1975)
Spring
1966
© Bowness, Hepworth Estate
Photo: Jerry Hardman

 

Installation image of 'Barbara Hepworth: Art & Life' at the Hepworth Wakefield

 

Installation images of Barbara Hepworth: Art & Life at the Hepworth Wakefield showing in the bottom image second left Winged Figure (1961-62 below), and second right Rock Form (Porthcurno) (1964, below)

 

Barbara Hepworth (English, 1903-1975) 'Winged Figure' 1961-62

 

Barbara Hepworth (English, 1903-1975)
Winged Figure
1961-1962
© Bowness, Hepworth Estate
Photo: Jonty Wilde

 

Barbara Hepworth (English, 1903-1975) 'Rock Form (Porthcurno)' 1964

 

Barbara Hepworth (English, 1903-1975)
Rock Form (Porthcurno)
1964
Plaster, painted green on the outside and blue/grey on the interior
© Bowness, Hepworth Estate
Photo: Jonty Wilde

 

 

To mark The Hepworth Wakefield‘s 10th anniversary, the Yorkshire-based gallery opened the most expansive exhibition of Barbara Hepworth’s work in the UK since the artist’s death in 1975.

The exhibition presents an in-depth view of the Wakefield-born artist’s life, interests, work and legacy. It displays some of Hepworth’s most celebrated sculptures including the modern abstract carving that launched her career in the 1920s and 1930s, her iconic strung sculptures of the 1940s and 1950s, and large scale bronze and carved sculptures from later in her career. Key loans from national public collections are being shown alongside works from private collections that have not been on public display since the 1970s, as well as rarely seen drawings, paintings and fabric designs. It reveals how Hepworth’s wide sphere of interests comprising music, dance, science, space exploration, politics and religion, as well as events in her personal life, influenced her work.

Contemporary artists Tacita Dean and Veronica Ryan have been commissioned to create new works which are being presented within the exhibition. Each artist explores themes and ideas that interested Hepworth and that continue to resonate with their own work. Artworks by Bridget Riley from the 1960s are also being presented in dialogue with Hepworth’s work from the same period.

To coincide with the exhibition, The Hepworth Wakefield’s curator Eleanor Clayton has written a major new biography on the artist, published by Thames & Hudson. Eleanor Clayton said: ‘Barbara Hepworth is one of the most important artists of the 20th century, with a unique artistic vision that demands to be looked at in depth. This exhibition will shine a light on Hepworth’s wide-ranging interests and how they infused her art practice. Deeply spiritual and passionately engaged with political, social and technological debates in the 20th century, Hepworth was obsessed with how the physical encounter with sculpture could impact the viewer and alter their perception of the world.’

Simon Wallis, Director of The Hepworth Wakefield, said: ‘Lockdown continues to be an ongoing challenge for us all, so I’m delighted we’ll be celebrating, post-lockdown, our 10th anniversary with an in-depth exploration of the art and life of Barbara Hepworth, Wakefield’s most famous daughter. With this major exhibition and new book, we’ll continue to build on the legacy and influence of a key pioneer of modern sculpture. Hepworth is a daily inspiration for us at the gallery and we look forward to sharing some of her greatest work with a wide new audience.’

 

The exhibition in detail

The exhibition opens with an introduction to Barbara Hepworth’s work, showing the three sculptural forms she returned to repeatedly throughout her career using a variety of different materials. A detailed look at Hepworth’s childhood in Yorkshire through archive material and photographs includes some of the artist’s earliest- known paintings, carvings and life drawings as she began to explore movement and the human form. A proponent of direct carving, Hepworth combined an acute sensitivity to the organic materials of wood and stone with the development of a radical new abstract language of form.

Hepworth’s determination to break free from accepted tradition was enhanced by travelling to Paris in 1932 where she visited the studios of many of the leading European avant-garde artists including Jean Arp, Constantin Brancusi and Pablo Picasso. A large section looks at Hepworth’s development of abstraction in the 1930s including Three Forms (1935) created shortly after she gave birth to triplets, an event she felt invigorated her work towards a bolder language of geometric form. One of the few examples in existence of Hepworth’s first coloured stringed sculptures in plaster, made during World War Two, is being shown alongside the many drawings she created during this period when sculptural materials were scarce. She described these drawings as ‘my sculptures born in the disguise of two dimensions.’

The exhibition reveals the artist’s creative process, drawing on new research from the recently established Hepworth Research Network (HRN), in collaboration with the Universities of York and Huddersfield, into the ways material factors shaped Hepworth’s sculptures and how they related to her broader conceptual and aesthetic concerns. This includes how starting bronze casting in the 1950s enabled Hepworth to create new forms and how, later in life, she experimented with new materials such as lead crystal and aluminium. On display is The Hepworth Wakefield’s unique collection of 44 surviving prototypes in plaster, aluminium and wood, many of which show the marks of Hepworth’s own hand and tools. These are being shown with a specially commissioned intervention by artist Veronica Ryan, the first artist to undertake a residency in Hepworth’s old studio in St Ives, where the prototypes once stood.

Hepworth’s broader interests – such as music, dance, theatre, politics, Greek mythology, and science – influenced her sculptures throughout her life. In the immediate post-war period she became fascinated with the interaction between figures – both in groups in her studio and observed around her, and also in a series of ‘Hospital drawings’, capturing surgeons at work in the early days of the National Health Service. These paintings and drawings capture her belief in the importance of unifying mental and physical existence – the ‘proper coordination between hand and spirit in our daily life’, to create a productive and positive society.

In 1951 Hepworth met composer Priaulx Rainier, and subsequently made several works inspired by the parallels between musical form and abstract sculpture. This coincided with her first theatrical design, for the 1951 production of Electra at The Old Vic. Archive photographs are being displayed together with Apollo (1951), a metal sculpture that formed part of the stage set, along with costume and set designs for the 1955 opera by Michael Tippett, A Midsummer Marriage, staged in 1955 at the Royal Opera House. This section of the exhibition also explores Hepworth’s passion for dance, and how she captured movement with gestural paintings and sculptures such as Forms in Movement (Galliard) (1956) and Curved Form (Pavan) (1956).

During the 1960s, Hepworth was a key cultural figure. She staged major exhibitions, presented work in experimental ways, made large-scale sculptures and explored colour in the patination of bronzes or painted surfaces of her carving. She played an active role in both local and international politics, campaigned for nuclear disarmament and supported pacifist causes. Her political values were encapsulated in the monumental Single Form, commissioned for the United Nations in 1964, of which she declared, ‘The United Nations is our conscience. If it succeeds it is our success. If it fails it is our failure.’ Rare footage of Hepworth’s speaking at the unveiling of this work as been included in the exhibition.

A group of works have been brought together to reveal the influence of the decade of space exploration on Hepworth, from Disc with Strings (Moon) (1969), made the year Neil Armstrong landed on the moon, to Four Hemispheres, inspired by the Telstar satellite. Hepworth noted at the end of the decade, ‘Man’s discovery of flight has radically altered the shape of our sculpture, just as it has altered our thinking.’

The final section of the exhibition looks at Hepworth’s last years, featuring her experiments with new materials and techniques, which incorporate bold colours and luminescent surfaces, while consistently seeking to use abstract form to express universal human experiences.

Barbara Hepworth is one of the most important artists of the twentieth century, and her organic sculptures have come to exemplify three-dimensional modernist art. Published at a time of increasing interest in her work, this biography moves beyond the traditional narratives of modernism to provide comprehensive insight into Hepworth’s remarkable life, work, and legacy.

Press release from the Hepworth Wakefield website

 

'Barbara Hepworth growing up' c. 1919

 

Barbara Hepworth growing up
c. 1919
Courtesy Bowness

 

Barbara Hepworth (English, 1903-1975) 'Mother and Child' 1934

 

Barbara Hepworth (English, 1903-1975)
Mother and Child
1934
Pink Ancaster stone
Purchased by Wakefield Corporation in 1951
Barbara Hepworth © Bowness

 

Barbara Hepworth (English, 1903-1975) 'Three Forms' 1935

 

Barbara Hepworth (English, 1903-1975)
Three Forms
1935
Serravezza marble on marble base
210 × 532 × 343mm, 23 kg
Tate. Presented by Mr and Mrs J.R. Marcus Brumwell 1964
On loan to The Hepworth Wakefield
Barbara Hepworth © Bowness

 

 

In 1934 Barbara Hepworth’s abstraction based on the human figure gave way to an art of pure form. With such works as Three Forms she reduced her sculpture to the most simple shapes and eradicated almost all colour. She said later that she was ‘absorbed in the relationships in space, in size and texture and weight, as well as the tensions between forms’. While the three elements are slightly imperfect in shape, their sizes and the spaces between them are precisely proportional to each other. This reflects her concern with the craft of hand-carving and with harmonious arrangement of form.

Gallery label, September 2004

Text from the Tate website

 

Barbara Hepworth (English, 1903-1975) 'Reconstruction' 1947

 

Barbara Hepworth (English, 1903-1975)
Reconstruction
1947
© Bowness, Hepworth Estate / Arts Council Collection, Southbank Centre, London
Courtesy of the Hepworth Wakefield

 

Barbara Hepworth at work on 'Contrapuntal Forms' by floodlight 25 October 1950

 

Barbara Hepworth at work on Contrapuntal Forms by floodlight
25 October 1950
Official Festival photograph
National Archives © Bowness

 

Barbara Hepworth. 'Turning Forms' at the Festival of Britain 1951

 

Barbara Hepworth – Turning Forms at the Festival of Britain
1951
© Bowness
Photo: Anthony Panting

 

 

A richly illustrated biography on the life and work of Barbara Hepworth, one of the twentieth century’s most inspiring artists and a pioneer of modernist sculpture.

Barbara Hepworth is one of the most important artists of the twentieth century, and her organic sculptures have come to exemplify three-dimensional modernist art. Published at a time of increasing interest in her work, this biography moves beyond the traditional narratives of modernism to provide comprehensive insight into Hepworth’s remarkable life, work, and legacy.

In her lifetime, Hepworth was reproached for single-mindedness, with critics and commentators framing her work and demeanour as “cool and restrained.” Moreover, most exhibitions of her work in the twentieth century focused on Hepworth’s modernist abstract sculpture of the 1930s and its relation to her male contemporaries, leaving vast swathes of work overlooked, such as her largest and most significant public commission, the sculpture outside the UN building in New York.

This fully illustrated biography reflects Hepworth’s multifaceted and interdisciplinary approach, shedding new light on her interests in music, dance, poetry, contemporary politics, science, and technology. Author Eleanor Clayton uncovers Hepworth’s engagement with these fields through friends and networks and examines how they show up in Hepworth’s artistic practice, and how the artist synthesised seemingly conflicting disciplines and ideas into one coherent and inspirational philosophy of art and life.

 

Installation view of Barbara Hepworth, 'Orpheus' 1956

 

Installation view of Barbara Hepworth, Orpheus
1956
Photographed at The Hepworth Wakefield, March 2020
Photo: Lewis Ronald

 

Barbara Hepworth (English, 1903-1975) 'Forms In Movement (Galliard)' 1956

 

Barbara Hepworth (English, 1903-1975)
Forms In Movement (Galliard)
1956
Copper
89cm

 

Barbara Hepworth (English, 1903-1975) 'Curved Forms (Pavan)' 1956

 

Barbara Hepworth (English, 1903-1975)
Curved Forms (Pavan)
1956
Impregnated plaster, painted, on an aluminium armature
52 x 80 x 48.5cm
Presented by the artist’s daughters, Rachel Kidd and Sarah Bowness, through the Trustees of the Barbara Hepworth Estate and the Art Fund
Barbara Hepworth © Bowness
Photo: Mark Heathcote

 

Barbara Hepworth (English, 1903-1975) 'Totem' 1960-62

 

Barbara Hepworth (English, 1903-1975)
Totem
1960-1962
Wakefield Permanent Art Collection
Barbara Hepworth © Bowness
Photo: Jerry Hardman-Jones

 

Val Wilmer. 'Barbara Hepworth in the Palais de la Danse studio, St Ives, at work on the wood carving 'Hollow Form with White Interior'' 1963

 

Val Wilmer
Barbara Hepworth in the Palais de la Danse studio, St Ives, at work on the wood carving ‘Hollow Form with White Interior’
1963
© Bowness, Hepworth Estate

 

Barbara Hepworth at work on the plaster for 'Oval Form (Trezion)' 1963

 

Barbara Hepworth at work on the plaster for Oval Form (Trezion)
1963
© Bowness
Photo: Val Wilmer Barbara Hepworth

 

Barbara Hepworth with the Gift plaster of 'Figure for Landscape' and a bronze cast of 'Figure (Archaean)' November 1964

 

Barbara Hepworth with the Gift plaster of Figure for Landscape and a bronze cast of Figure (Archaean)
November 1964
Barbara Hepworth © Bowness
Photo: Lucien Myers

 

Barbara Hepworth (English, 1903-1975) 'Genesis III' 1966

 

Barbara Hepworth (English, 1903-1975)
Genesis III
1966
Barbara Hepworth © Bowness
Photo: Jerry Hardman-Jones

 

Barbara Hepworth (English, 1903-1975) 'Disc with Strings (Moon)' 1969

 

Barbara Hepworth (English, 1903-1975)
Disc with Strings (Moon)
1969

 

 

Fifteen years before Hepworth (1903-1975) made Disc with Strings (Moon), the author William Golding wrote these words:

“Somewhere over the darkened curve of the world the sun and moon were pulling; and the film of water on the earth planet was held, bulging slightly on one side while the solid core turned. The great wave of the tide moved further along the island and the water lifted.”

.
Though Golding was not writing about the British Isles, his words suggest the kind of large-scale, god-like perspective of earth which mid-century artists like himself and Hepworth were capable of. Disc with Strings (Moon) carries an undertow of planet-sized thinking, and the work is concerned not with reference to human life but, rather, with the fluid, open-ended life of the universe. …

When Disc with Strings (Moon) is viewed from the front, the two halves of the concave disc have subtly different colour values. Though the brushed aluminium surface is uniform all over the work, a viewer perceives two different values because the two halves of the sculpture reflect light differently. While the forward-facing half of the disc reflects the light directly into the viewer’s eye, the other canted half reflects light away and therefore appears comparatively darker. When viewed from the other side, the colour values of the two halves are reversed.

The introduction of string into the sculpture contributes further to this subtle interplay of visual effects. Speaking to the critic Herbert Read in 1952, Hepworth said that “[t]he strings were the tension I felt between myself and the sea, the wind or the hills.” In short, they were a metaphor for her deeply personal response to the elements of nature. In Disc with Strings (Moon), they also seem to register the rippling of waves, passing over the surface of the moon when it appears reflected in the sea.

Anonymous. “InSight No. XII,” on the Piano Nobile website May 13, 2020 [Online] Cited 12/07/2021.

 

Barbara Hepworth (English, 1903-1975) 'Four Hemispheres' 1970

 

Barbara Hepworth (English, 1903-1975)
Four Hemispheres
1970
Glass lead crystal

 

Barbara Hepworth (English, 1903-1975) 'Sun Setting, The Aegean Suite' 1971

 

Barbara Hepworth (English, 1903-1975)
Sun Setting, The Aegean Suite
1971
Lithograph on paper
The Hepworth Wakefield (Wakefield Permanent Art Collection)
Barbara Hepworth © Bowness

 

Barbara Hepworth (English, 1903-1975) 'Cone and Sphere' 1973

 

Barbara Hepworth (English, 1903-1975)
Cone and Sphere
1973
White marble
Hepworth Estate, on long loan to The Hepworth Wakefield (Wakefield Permanent Art Collection)
Barbara Hepworth © Bowness
Photo: Mark Heathcote

 

'Barbara Hepworth: Art & Life' catalogue cover

 

Barbara Hepworth: Art & Life catalogue cover

 

 

The Hepworth Wakefield
Gallery Walk, Wakefield
West Yorkshire, WF1 5AW
Phone: +44 (0)1924 247360

The Hepworth Wakefield website

LIKE ART BLART ON FACEBOOK

Back to top

26
Jun
20

Photobook: E. O. Hoppé. ‘Picturesque Great Britain: Its Architecture and Landscape’ 1926 Part 4

June 2020

Publisher: Ernst Wasmuth A.G. / Berlin
With an Introduction by Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'York Minster' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
225: York Minster
1926

 

 

The last in my four part series on photographs which appear in E. O. Hoppé’s Picturesque Great Britain: Its Architecture and Landscape (1926).

This posting features photographs of the Lake District, Scotland and Ireland.

Today, it seems incredibly strange that Hoppé would include Dublin and all parts Ireland in the catch all “Great Britain”, especially as most of Ireland gained independence from Great Britain in 1922, after the bloody Irish War of Independence.

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image. These photographs are published under fair use conditions for educational purposes only.

 

This magnificent set of pictures displays, with all the art of genius both in selection and technical skill, the beauty of the British Isles. I know of no similar collection which could give alike to the foreigner who wonders what England is like, to the Englishman who has wandered from his native land into all the great dominions of the world, and to the man who has remained behind, that particular sense of pleasure mingled with pain which all beauty excites, and excites especially a passionate love in the vision of home.

This is an introduction to pictures of the landscapes and the works of man; these latter ennobled by the associations of time, and in some cases by time’s decay. They open vistas through which one may gaze at the history of England for a thousand years.

Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'Roman Wall' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
234: Roman Wall
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'In Westmorland Country' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
235: In Westmorland Country
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Kendal, Westmorland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
236: Kendal, Westmorland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Windemere, Westmorland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
237: Windemere, Westmorland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Newcastle, Northumberland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
238: Newcastle, Northumberland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Carter Bar, Northumberland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
239: Carter Bar, Northumberland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Dunbar, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
240: Dunbar, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Dunbar, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
241: Dunbar, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Edinburgh Castle, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
242: Edinburgh Castle, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972)'The Castle, Edinburgh, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
243: The Castle, Edinburgh, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Canongate with Tolbooth, Edinburgh, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
244: Canongate with Tolbooth, Edinburgh, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Advocates Walk, Edingburgh, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
248: The Advocates Walk, Edingburgh, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Forth Bridge, Edingburgh, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
249: Forth Bridge, Edingburgh, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Viaduct, Montrose, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
255: The Viaduct, Montrose, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Near Peebles, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
257: Near Peebles, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Harbour, Aberdeen, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
259: The Harbour, Aberdeen, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Deeside, Aberdeen, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
261: Deeside, Aberdeen, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Braemar Castle, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
262: Braemar Castle, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Devil's Elbow, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
264: Devil’s Elbow, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'On the Road to Balmoral, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
265: On the Road to Balmoral, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Highland Cattle, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
267: Highland Cattle, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Loch Lomond, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
268: Loch Lomond, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'A Scottish Sunset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
269: A Scottish Sunset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Scottish Highlands' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
272: The Scottish Highlands
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The College Green, Dublin, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
273: The College Green, Dublin, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Loch Tulla, Argyllshire, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
274: Loch Tulla, Argyllshire, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Dumbarton, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
275: Dumbarton, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Glasgow, Lanarkshire, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
276: Glasgow, Lanarkshire, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Christchurch, Dublin, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
277: Christchurch, Dublin, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Christchurch, Dublin, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
278: Christchurch, Dublin, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Custom's House, Dublin, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
279: The Custom’s House, Dublin, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Spittal of Glenshee, Scotland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
280: Spittal of Glenshee, Scotland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Powerscourt, Enniskerry, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
281: Powerscourt, Enniskerry, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Lambay Castle, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
283: Lambay Castle, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Luccan, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
284: Luccan, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Glendalough Lake, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
287: Glendalough Lake, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Glendalough, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
289: Glendalough, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Carrick-on-Suir, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
291: Carrick-on-Suir, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Carrick-on-Suir, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
292: Carrick-on-Suir, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Middle Lake, Killarney, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
293: The Middle Lake, Killarney, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cathedral, Cork, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
296: The Cathedral, Cork, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Memorial Church, Cork, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
297: The Memorial Church, Cork, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Lower Lake, Killarney, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
299: The Lower Lake, Killarney, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The River Shannon, Limerick, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
301: The River Shannon, Limerick, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Limerick, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
302: Limerick, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cathedral, Limerick, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
303: The Cathedral, Limerick, Ireland
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Scalp Mountains, Ireland' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
304: The Scalp Mountains, Ireland
1926

 

 

LIKE ART BLART ON FACEBOOK

Back to top

12
Jun
20

Photobook: E. O. Hoppé. ‘Picturesque Great Britain: Its Architecture and Landscape’ 1926 Part 3

June 2020

Publisher: Ernst Wasmuth A.G. / Berlin
With an Introduction by Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'Market Cross, Castlecoombe, Wiltshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
145: Market Cross, Castlecoombe, Wiltshire
1926

 

 

Part 3 of my humungous posting on photographs from E.O. Hoppé’s book Picturesque Great Britain: Its Architecture and Landscape 1926.

I found a little more information about Hoppé’s process:

“He travelled across many countries including Great Britain, Germany, Czechoslovakia, the United States, India, Africa, Australia and New Zealand for projects such as the Orbis Terrarum book series for the Berlin-based publishing company Ernst Wasmuth Verlag, and devoted months, often a year or more, of his careful, meticulous attention to each of these countries in order to, as he himself once wrote, eventually select from 5000 negatives 300 images that could together with a text for the respective country, represent the selected topic and be published.”

Over a year in time, taken from 5000 negatives, to select 300 images. This means that Hoppé was working on a ratio of using about 6% of all the photographs of a subject that he took. From my personal experience I always work on 10% of what I take being “good” images, with about 5% actually being usable in a series, sequence or body of work.

As in the earlier postings, we can again see many of his compositional devices at work: double vanishing points (189: Norwich Cathedral, Norfolk), occlusion of foreground looking at subject in distance (186: Castle Rising, Norfolk; 199: Hop Poles & Oast Houses, Kent), superb use of “near far” (185: The Harbour, Kings Lynn, Norfolk; 190: The Broads at Wrexham, Norfolk), modernity and the geometric construction of the image plane (169: Caius Cambridge, Cambridge), strong elements holding up one side of the image and leading the eye into the subject (156: Pangbourne, Berkshire; 183: Walberswick, Suffolk); and wonderful use of light and chiaroscuro to picture atmosphere and emotion in the archaic and modern (218: The Canal, Manchester, Lancashire; 219: Warehouses, Manchester, Lancashire; 221: Steelworks, Sheffield, Yorkshire; 227: Evening, York).

Boy, would I like to see the ones he rejected!

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image. These photographs are published under fair use conditions for educational purposes only.

 

This magnificent set of pictures displays, with all the art of genius both in selection and technical skill, the beauty of the British Isles. I know of no similar collection which could give alike to the foreigner who wonders what England is like, to the Englishman who has wandered from his native land into all the great dominions of the world, and to the man who has remained behind, that particular sense of pleasure mingled with pain which all beauty excites, and excites especially a passionate love in the vision of home.

This is an introduction to pictures of the landscapes and the works of man; these latter ennobled by the associations of time, and in some cases by time’s decay. They open vistas through which one may gaze at the history of England for a thousand years.

Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'At Hatfield, Hertfordshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
147: At Hatfield, Hertfordshire
1926

 

 

Emil Otto Hoppé (born 1878 in Munich, died 1972 in England) was an exciting and mysterious phenomenon. During his lifetime, especially in the 1910s, 20s, 30s and 40s, he was one of the most famous photographers in the world and a highly-respected portrait photographer in London, with a large house and studio in South Kensington (Millais House, which had 27 rooms on four floors and had previously been inhabited by the renowned Victorian painter John Everett Millais) as well as a clientele comprising the most important politicians, businessmen, artists, dancers, poets, writers, philosophers and of course the English nobility, including Queen Mary and King George V. For many years he was a dedicated travel photographer. He travelled across many countries including Great Britain, Germany, Czechoslovakia, the United States, India, Africa, Australia and New Zealand for projects such as the Orbis Terrarum book series for the Berlin-based publishing company Ernst Wasmuth Verlag, and devoted months, often a year or more, of his careful, meticulous attention to each of these countries in order to, as he himself once wrote, eventually select from 5000 negatives 300 images that could together with a text for the respective country, represent the selected topic and be published. “Romantic America”, “Picturesque Great Britain: The Architecture and the Landscape”, “Romantik der Kleinstadt”, “The Fifth Continent” [Australia] and “Deutsche Arbeit” are the titles of just some of the 20 books he published in his lifetime. …

The first task in the development of the history of photography was to build as simple a framework as possible and to gain a recognisable, nameable overview of the key movements. The work of Emil Otto Hoppé perhaps simply did not to fit in; instead his diversity and attitude must have been unsettling. On the one hand, he threw quite a modern look on the people, villages, landscapes and especially industries. At the same time he was for long periods wont to print his pictures in more tonal and soft-focus ways. His black-and-white pictures are often characterised by a particularly dense and colourful tonality, while his portraits (and other genres) are often soft and almost a little out-of-focus. He himself describes printing his portraits as follows in his autobiography “Hundred Thousand Exposures: The Success of a Photographer” from 1945: “I use a soft-focus lens in the enlarger. I begin the exposure with the smallest stop considered advisable. During the exposure the iris diaphragm is slowly opened and closed. The effect is calculated by dividing the estimated exposure by the smallest stop used in the process and closing the iris diaphragm for fractions of the period which are approximately 1/5, 1/20, 3/4 (…) The final effect is a roundness which I have not found it possible to obtain by another method.” …

In a speech delivered by E.O. Hoppé to the Royal Photography Society in 1946, he addressed some of these issues himself. For example: “The function of the camera here would be to make a simple, straightforward picture, which probably would not be accepted by any Salon of Photography. No tricks of exposure, angle or printing would have a place.” […] “The search for the most effective angle is the prime task of the photographer, and his success will largely be judged by his success in that search. The harm comes when he does not look for the most effective angle but for the most bizarre and peculiar.” […] “I see no reason to think a man a better artist because he ignores public taste, despises supply and demand and has dirty finger-nails.” […] “Similarly, I cannot agree with the intellectual snobbishness which declares that a man who wears a clean shirt and has a bank account is necessarily a tradesman and cannot be an artist.” His line of argument seems to address some reasons why his work was for a long time forgotten vis-à-vis a romantic image of the artist and the search for an approach that could be precisely isolated and named.

Anonymous. “Emil Otto Hoppé: Unveiling a Secret Industrial Photographs, 1912-1937,” on the Urs Stahel website January 2015 [Online] Cited 18 May 2020

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Spires of Oxford, Oxfordshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
148: The Spires of Oxford, Oxfordshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cloisters, New College, Oxford' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
150: The Cloisters, New College, Oxford
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Pangbourne, Berkshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
156: Pangbourne, Berkshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'West Hagbourne, Berkshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
157: West Hagbourne, Berkshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Trinity Gates, Cambridge' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
164: Trinity Gates, Cambridge
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Caius Cambridge, Cambridge' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
169: Caius Cambridge, Cambridge
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Old Inn & Hostelry, Cambridge' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
171: Old Inn & Hostelry, Cambridge
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Haddenham, Cambridgeshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
172: Haddenham, Cambridgeshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Housetops, Cathedral Close, Ely, Cambridgeshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
175: Housetops, Cathedral Close, Ely, Cambridgeshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Ely Cathedral, Cambridgeshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
177: Ely Cathedral, Cambridgeshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Ely Cathedral, Cambridgeshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
178: Ely Cathedral, Cambridgeshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Fine Specimens of Ancient Domestic Architecture, Plastered Houses at Ipswich, Suffolk' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
181: Fine Specimens of Ancient Domestic Architecture, Plastered Houses at Ipswich, Suffolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Near Walberswick, Suffolk' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
182: Near Walberswick, Suffolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Walberswick, Suffolk' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
183: Walberswick, Suffolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Market House, Wymondham, Norfolk' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
184: Market House, Wymondham, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Harbour, Kings Lynn, Norfolk' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
185: The Harbour, Kings Lynn, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Castle Rising, Norfolk' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
186: Castle Rising, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Cottage at Southery, Norfolk' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
187: Cottage at Southery, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Norwich Cathedral, Norfolk' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
189: Norwich Cathedral, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Broads at Wrexham, Norfolk' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
190: The Broads at Wrexham, Norfolk
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'An Essex Landscape' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
193: An Essex Landscape
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Beeleigh Abbey, Essex' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
195: Beeleigh Abbey, Essex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Plastered House, Safron Walden, Essex' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
196: Plastered House, Safron Walden, Essex
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Friars, Aylesford, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
198: The Friars, Aylesford, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Hop Poles & Oast Houses, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
199: Hop Poles & Oast Houses, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Staplehurst, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
200: Staplehurst, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Allington Castle, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
201: Allington Castle, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Allington Castle, Maidstone, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
202: Allington Castle, Maidstone, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Allington Castle, Maidstone, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
203: Allington Castle, Maidstone, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Old Smithy, Penhurst, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
205: The Old Smithy, Penhurst, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Penhurst, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
207: Penhurst, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Cobham Hall, Gravesend, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
208: Cobham Hall, Gravesend, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Canterbury Cathedral, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
211: Canterbury Cathedral, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Weavers, Cantebury, Kent' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
213: The Weavers, Cantebury, Kent
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Tideswell Cathedral, Derbyshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
215: Tideswell Cathedral, Derbyshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Canal, Manchester, Lancashire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
218: The Canal, Manchester, Lancashire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Warehouses, Manchester, Lancashire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
219: Warehouses, Manchester, Lancashire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Steelworks, Sheffield, Yorkshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
221: Steelworks, Sheffield, Yorkshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Steelworks, Sheffield, Yorkshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
222: Steelworks, Sheffield, Yorkshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Bolton Abbey, Yorkshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
224: Bolton Abbey, Yorkshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Evening, York' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
227: Evening, York
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Galilee Chapel, Durham Cathedral' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
228: Galilee Chapel, Durham Cathedral
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Durham Cathedral, Durham' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
229: Durham Cathedral, Durham
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'In Durham Cathedral' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
231: In Durham Cathedral
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cloisters, Durham Cathedral' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
232: The Cloisters, Durham Cathedral
1926

 

 

LIKE ART BLART ON FACEBOOK

Back to top

27
May
20

Photobook: E. O. Hoppé. ‘Picturesque Great Britain: Its Architecture and Landscape’ 1926 Part 2

May 2020

Publisher: Ernst Wasmuth A.G. / Berlin
With an Introduction by Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'Land's End, Cornwall' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
74: Land’s End, Cornwall
1926

 

 

In this, the second tranche of photographs from E. O. Hoppé’s 1926 book Picturesque Great Britain: Its Architecture and Landscape, we can analyse some of the techniques of picture construction that the artist has so creatively mastered.

Firstly, that of the floating horizon line. In photographs such as 74: Land’s End, Cornwall; 80: Selworthy, Somerset; 82: Selworthy Church, Selworthy, Somerset; 84: Minehead, Somerset; and 91: Cambden Crescent in Bath, Somerset, Hoppé com/piles the foreground with tone, form and structure, but let’s the eye escape to a distant horizon which moves up and down, according to context, place, space… within the image frame. Time and again he uses this method of allowing the eye to escape the confines of the image.

Secondly, a framing device that the artist is particularly fond of is that of the road, pathway or bridge that helps lead the eye into the image and on to the vanishing point. We can see this approach in photographs such as 96: Approach to Cloisters, Gloucester Cathedral; 97: The Cloisters, Gloucester Cathedral, Gloucestershire; 101: Withe Cottage, Conway, Wales; and 132: The Bridge, Stratford-on-Avon, Warwickshire.

Another framing device that the artist uses very effectively is what I call the blocked approach (to the subject) – which can be seen in photographs such as 77: Glastonbury Abbey, Somerset; 117: Chester, Cheshire; 119: Norman Arches, Much Wenlock Abbey, Shropshire; and 142: Wilsford Manor, Wiltshire, where the object which is in focus in the distance is revealed through out of focus arches, wood, masonry or pillars.

A further device is that of the mid-distance band within the pictorial plane, where Hoppé contains the important architectural information into a central section of information. In photographs such as 103: Carnavon Castle, Wales; 121: Evesham, Worcestershire; and 144: Bideston, Wiltshire the artist focuses the viewers attention in the mid-distance, where the buildings float between ground and air. Instead of closing in to fill the frame, Hoppé is content, satisfied with things as they are… happy to enunciate in the images the sum of what he has perceived, discovered, and learned about his subject, without the need to approach to closely or force the matter. In other words, he lets the architecture speak for itself within the landscape.

In looking at architectural forms of different periods, Hoppé does not rely on the formulaic, the tried and tested traditions of landscape and architecture photography from the Victorian and Edwardian eras. His is not the normal seeing of flat images with limited depth (of substance, of feeling). He is too talented (and experimental) and artist for that.

Dr Marcus Bunyan

.
Please click on the photographs for a larger version of the image. These photographs are published under fair use conditions for educational purposes only.

 

This magnificent set of pictures displays, with all the art of genius both in selection and technical skill, the beauty of the British Isles. I know of no similar collection which could give alike to the foreigner who wonders what England is like, to the Englishman who has wandered from his native land into all the great dominions of the world, and to the man who has remained behind, that particular sense of pleasure mingled with pain which all beauty excites, and excites especially a passionate love in the vision of home.

This is an introduction to pictures of the landscapes and the works of man; these latter ennobled by the associations of time, and in some cases by time’s decay. They open vistas through which one may gaze at the history of England for a thousand years.

Charles F. G. Masterman

 

 

E. O. Hoppé (British, born Germany 1878-1972) 'Packhorse Bridge, Allerford, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
75: Packhorse Bridge, Allerford, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Glastonbury Abbey, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
77: Glastonbury Abbey, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Selworthy, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
80: Selworthy, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Selworthy, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
81: Selworthy, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Selworthy Church, Selworthy, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
82: Selworthy Church, Selworthy, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'From Porlock Hill, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
83: From Porlock Hill, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Minehead, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
84: Minehead, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Minehead, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
86: Minehead, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Market Place, Dunster' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
87: The Market Place, Dunster
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Royal Crescent, Bath, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
89: The Royal Crescent, Bath, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Bath, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
90: Bath, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Cambden Crescent in Bath, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
91: Cambden Crescent in Bath, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Wells Cathedral, Somerset' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
93: Wells Cathedral, Somerset
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Approach to Cloisters, Gloucester Cathedral' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
96: Approach to Cloisters, Gloucester Cathedral
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Cloisters, Gloucester Cathedral, Gloucestershire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
97: The Cloisters, Gloucester Cathedral, Gloucestershire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Pembridge, Herefordshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
98: Pembridge, Herefordshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Withe Cottage, Conway, Wales' 1926

 

E. O. Hoppé (British, born Germany 1878-1972)
101: Withe Cottage, Conway, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Carnavon Castle, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
102: Carnavon Castle, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Carnavon Castle, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
103: Carnavon Castle, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Pass of Bwlch-Goerd, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
105: Pass of Bwlch-Goerd, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Bwlch-Goerd Pass, on the Road to Bala, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
106: Bwlch-Goerd Pass, on the Road to Bala, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Druid Circle, Aberystwyth, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
107: The Druid Circle, Aberystwyth, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'On the Bwlch-y-Goerd Pass, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
108: On the Bwlch-y-Goerd Pass, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Beddgelert, Carnavonshire, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
110: Beddgelert, Carnavonshire, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Llandinam Lake, Mid-Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
111: Llandinam Lake, Mid-Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Snowdon, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
112: Snowdon, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Snowdon at Pen-y-Gwryd, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
113: Snowdon at Pen-y-Gwryd, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Llanberis Pass, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
114: Llanberis Pass, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Wye Valley, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
115: Wye Valley, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'In the Wye Valley, Wales' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
116: In the Wye Valley, Wales
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Chester, Cheshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
117: Chester, Cheshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Norman Arches, Much Wenlock Abbey, Shropshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
119: Norman Arches, Much Wenlock Abbey, Shropshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Bridgenorth, Shropshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
120: Bridgenorth, Shropshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Evesham, Worcestershire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
121: Evesham, Worcestershire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Harlebury Castle, Worcestershire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
124: Harlebury Castle, Worcestershire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Worcester Cathedral' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
125: Worcester Cathedral
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Rous Lench, Worcestershire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
126: Rous Lench, Worcestershire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Court Farm, Broadway, Worcestershire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
127: Court Farm, Broadway, Worcestershire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Broadway, Worcestershire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
130: Broadway, Worcestershire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'The Bridge, Stratford-on-Avon, Warwickshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
132: The Bridge, Stratford-on-Avon, Warwickshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Ann Hathaway's Cottage, Stratford-on-Avon, Warwickshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
133: Ann Hathaway’s Cottage, Stratford-on-Avon, Warwickshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 134: The Grammar School, Stratford-on-Avon, Warwickshire 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
134: The Grammar School, Stratford-on-Avon, Warwickshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Welfford-on-Avon, Warwickshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
135: Welfford-on-Avon, Warwickshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Leycester Hospital, Warwick, Warwickshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
137: Leycester Hospital, Warwick, Warwickshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Leycester Hospital, Warwick, Warwickshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
138: Leycester Hospital, Warwick, Warwickshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Kenilworth Castle, Warwickshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
139: Kenilworth Castle, Warwickshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972)'Stoneleigh Abbey, Near Leamington, Warwickshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
140: Stoneleigh Abbey, Near Leamington, Warwickshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Wilsford Manor, Wiltshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
142: Wilsford Manor, Wiltshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Wilsford Manor, Wiltshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
143: Wilsford Manor, Wiltshire
1926

 

E. O. Hoppé (British, born Germany 1878-1972) 'Bideston, Wiltshire' 1926

 

E. O. Hoppé (British born Germany, 1878-1972)
144: Bideston, Wiltshire
1926

 

 

LIKE ART BLART ON FACEBOOK

Back to top

20
Mar
20

Album: ‘Portrait Engravings in stipple by W. Ridley, and his associates, W. Holl & T. Blood. 1796-1822’

March 2020

 

'Portrait Engravings in stipple by W. Ridley, and his associates, W. Holl & T. Blood. 1796-1822' album cover

 

Portrait Engravings in stipple by W. Ridley, and his associates, W. Holl & T. Blood. 1796-1822 album cover
45 tipped in stipple engravings (including one proof engraving, number 23)
1796-1822
Assembled c. 1920s-1930s
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

 

It’s incredible the number of disparate objects that I have in my collection, assembled mainly from purchases at op shops (in Australia, opportunity shops; in America, thrift stores).

I feel that I am just the custodian of these objects and if possible, I like placing them in a context where they will be appreciated. Such is the case with this album of forty five stipple engravings from 1796-1822 bought recently at an op shop. It’s not really my thing, but the plates are so old, the letter from the British Museum so interesting, that I thought I would rescue it before someone else bought it and broke it up. As so happens with the synchronicity of the world I found from my dear friend Assoc. Professor Alison Inglis, that the University of Melbourne celebrated a 50 year relationship with the British Museum last year. And since I work at the University, nothing could be better than donating the album to the Baillieu Library Print Collection, one of the best print collections in Australia.

Looking at the plates themselves (the engravings adaptations taken from paintings) we observe a mainly patriarchal society, dominated by religious and military figures, the latter well known to each other in the small circle of high-up society figures, forming friendships and enmities along the way. The other societal group well represented are the theatrical performers, whether female or male. Both groups would have been known to each other, often joined through the auspices of the artists who painted their portraits, for example Gainsborough, Joshua Reynolds and Samuel Drummond.

Networks of association can be teased out of the bibliographic information. For example, English novelist, actress, and dramatist Elizabeth Inchbald successful play Lovers’ Vows was a translation of August von Kotzebue’s original piece and was much admired by Jane Austen, both Inchbald and von Kotzebue being represented in the album. Another example is the English portrait painter George Romney whose artistic muse was Emma Hamilton, mistress of Lord Nelson. In the album we find a stipple engraving by William Ridley taken from a painting by George Romney of Sir John Orde, remembered as a professional enemy of Nelson. And so the circle of intrigue, passion, friendship and enmity continues to spiral around the players in this Georgian era.

Of most interest to me are the strong, independent women who, often pulling themselves up from the bootstraps, made outstanding contributions to the society of the time, and the history of female emancipation. Frances Abington began her career as a flower girl and a street singer (and for a short period of time was a prostitute to help her family in the hard times) who went on to be amongst the foremost rank of comic actresses, known for her avant-garde fashion and great beauty. “Her ambition, personal wit and cleverness won her a distinguished position in society, in spite of her humble origin.” Elizabeth Inchbald is the story of an unknown actress who became a celebrated playwright and author. Elizabeth Montagu was a British social reformer, patron of the arts, salonnière, literary critic and writer, who helped to organise and lead the Blue Stockings Society (an informal women’s social and educational movement).

Of most importance is the English writer, philosopher, and advocate of women’s rights, pioneering feminist Mary Wollstonecraft (1759-1797) who is today, “regarded as one of the founding feminist philosophers, and feminists often cite both her life and her works as important influences. During her brief career, she wrote novels, treatises, a travel narrative, a history of the French Revolution, a conduct book, and a children’s book. Wollstonecraft is best known for A Vindication of the Rights of Woman (1792), in which she argues that women are not naturally inferior to men, but appear to be only because they lack education. She suggests that both men and women should be treated as rational beings and imagines a social order founded on reason.” (Wikipedia) Wollstonecraft married the philosopher William Godwin, one of the forefathers of the anarchist movement but died at the age of 38 giving birth to her second daughter, Mary Shelley, who would become an accomplished writer and author of Frankenstein. After her death her widower published Memoirs of the Author of A Vindication of the Rights of Woman in January 1798 which, “inspired by Jean-Jacques Rousseau’s Confessions, [is] unusually frank for its time. He did not shrink from presenting the parts of Wollstonecraft’s life that late eighteenth-century British society would judge either immoral or in bad taste, such as her close friendship with a woman, her love affairs, her illegitimate child, her suicide attempts and her agonising death.” (Wikipedia) The stipple engraving in this album was published just over a year and half before her death – so, taken “from life” – as she was soon to be.

Truly, this is a human being that I would have liked to have met.

Dr Marcus Bunyan

.
Many thankx to the Baillieu Library Print Collection for allowing the publication of the images. Please click on the photographs for a larger version of the image.

 

William Ridley: b. 1764; d. Aug. 15th, 1838, at Addlestone. Worked mostly for periodicals and book-illustrations, and engraved portraits in stipple after Gainsborough, Reynolds etc, etc. See

  • Redgrave: ‘Dictionary of English Artists’ 1878
  • Le Blanc: ‘Manuel de l’Amateur d’Estampes’, Vol. iii
  • Hayden: ‘Chats on Old Prints’, 1909

 

William Holl, the Elder: b. 1771; d. Dec 1st, 1838. Pupil of Benjamin Smith; engraved, mostly in stipple, after portraits for various publications including Lodge’s ‘Portraits’; also two mythological subjects after Richard Westall. See:

  • Redgrave: ‘Dictionary of English Artists’ 1878
  • Dictionary of National Biography

 

T. or J. Blood: worked about 1782-1823. Engraved portrait in stipple after Russell, Drummond, et. also worked from the ‘European Magazine’.

 

 

'Portrait Engravings in stipple by W. Ridley, and his associates, W. Holl & T. Blood. 1796-1822' bill of sale

 

Portrait Engravings in stipple by W. Ridley, and his associates, W. Holl & T. Blood. 1796-1822 bill of sale
1979
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

'Portrait Engravings in stipple by W. Ridley, and his associates, W. Holl & T. Blood. 1796-1822' Index

 

Portrait Engravings in stipple by W. Ridley, and his associates, W. Holl & T. Blood. 1796-1822 Index
45 tipped in stipple engravings (including one proof engraving, number 23)
1796-1822
Assembled c. 1920s-1930s
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

Letter from the British Museum dated January 1937 pasted into 'Portrait Engravings in stipple by W. Ridley, and his associates, W. Holl & T. Blood. 1796-1822'

 

Letter from the British Museum dated January 1937 pasted into Portrait Engravings in stipple by W. Ridley, and his associates, W. Holl & T. Blood. 1796-1822
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

William Ridley (British, 1764-1838) 'Sir John Orde, Admiral of the White Squadron' 1804

 

(1) William Ridley (British, 1764-1838) (sculptor)
L. Gold (British) (103, Shoe Lane) (publisher)
Sir John Orde, Bart, Admiral of the White Squadron
1 April 1804
Stipple engraving
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

George Romney (English, 1734-1802) 'Admiral Sir John Orde' 18th century

 

George Romney (English, 1734-1802)
Admiral Sir John Orde
18th century
oil on canvas
30 x 24¼ in. (76.1 x 63cm)
Public domain

 

 

George Romney

George Romney (26 December 1734 – 15 November 1802) was an English portrait painter. He was the most fashionable artist of his day, painting many leading society figures – including his artistic muse, Emma Hamilton, mistress of Lord Nelson.

For a full biography please see the Wikipedia website.

 

William Ridley (British, 1764-1838) 'George Colman Esqr 1797

 

(2) William Ridley (British, 1764-1838) (sculptor)
Bellamy & Roberts (British) (King Street, Covent Garden) (publisher)
George Colman Esqr
September 1, 1797
Engraved by Ridley from an Original Painting in the possession of Mr Jewell
Pubd for the Proprietors of the Monthly Mirror
Stipple engraving
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

 

George Colman

George Colman (21 October 1762 – 17 October 1836), known as “the Younger”, was an English dramatist and miscellaneous writer. He was the son of George Colman the Elder. …

His comedies are a curious mixture of genuine comic force and sentimentality. A collection of them was published (1827) in Paris, with a life of the author, by J. W. Lake.

His first play, The Female Dramatist (1782), for which Smollett’s Roderick Random supplied the materials, was unanimously condemned, but Two to One (1784) was entirely successful. It was followed by Turk and no Turk (1785), a musical comedy; Inkle and Yarico (1787), an opera; Ways and Means (1788); The Battle of Hexham (1793); The Iron Chest (1796), taken from William Godwin’s Adventures of Caleb Williams; The Heir at Law (1797), which enriched the stage with one immortal character, “Dr Pangloss” (borrowed of course from Voltaire’s Candide); The Poor Gentleman (1802); John Bull, or an Englishman’s Fireside (1803), his most successful piece; and numerous other pieces, many of them adapted from the French.

Colman, whose witty conversation made him a favourite, was also the author of a great deal of so-called humorous poetry (mostly coarse, though much of it was popular) – My Night Gown and Slippers (1797), reprinted under the name of Broad Grins, in 1802; and Poetical Vagaries (1812). Some of his writings were published under the assumed name of Arthur Griffinhood of Turnham Green.

Text from the Wikipedia website

 

William Ridley (British, 1764-1838) 'Sir Charles Morice Pole, Bart' 1 June 1805

 

(3) William Ridley (British, 1764-1838) (sculptor)
J. Asperne (British) (publisher)
Sir Charles Morice Pole, Bart
1 June 1805
European Magazine
Engraved by Ridley from a Picture, by J. Northcote, R.A.
Published by J. Asperne, at the Bible, Crown & Constitution, Cornhill
Stipple engraving
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

 

European Magazine

The European Magazine was a monthly magazine published in London. Eighty-nine semi-annual volumes were published from 1782 until 1826. It was launched as the European Magazine, and London Review in January 1782, promising to offer “the Literature, History, Politics, Arts, Manners, and Amusements of the Age.” It was in direct competition with The Gentleman’s Magazine, and in 1826 was absorbed into the Monthly Magazine.

Soon after launching the European Magazine, its founding editor, James Perry, passed proprietorship to the Shakespearean scholar Isaac Reed and his partners John Sewell and Daniel Braithwaite, who guided the magazine during its first two decades.

The articles and other contributions in the magazine appeared over initials or pseudonyms and have largely remained anonymous. Scholars believe that the contributions include the first published poem by William Wordsworth (1787) and the earliest known printing of “O Sanctissima”, the popular Sicilian Mariners Hymn (1792).

Text from the Wikipedia website

 

Sir Charles Pole, 1st Baronet

Admiral of the Fleet Sir Charles Morice Pole, 1st Baronet GCB (18 January 1757 – 6 September 1830) was a Royal Navy officer and colonial governor. As a junior officer he saw action at the Siege of Pondicherry in India during the American Revolutionary War. After taking command of the fifth-rate HMS Success he captured and then destroyed the Spanish frigate Santa Catalina in the Strait of Gibraltar in the action of 16 March 1782 later in that War.

After capturing the French privateer Vanneau in June 1793, Pole took part in the Siege of Toulon at an early stage of the French Revolutionary Wars. He went on to be governor and commander-in-chief of Newfoundland and then commanded the Baltic Fleet later in the War. He also served as a Lord Commissioner of the Admiralty on the Admiralty Board led by Viscount Howick during the Napoleonic Wars.

Text from the Wikipedia website

 

William Ridley (British, 1764-1838) 'Mrs Abington' Dec 30, 1797

 

(5) William Ridley (British, 1764-1838) (sculptor)
Bellamy & Roberts (British) (King Street, Covent Garden) (publisher)
Mrs Abington
Dec 30, 1797
Engraved by Ridley from a Picture by Sir Joshua Reynolds
Published as the Act directs by T. Belamy at the Monthly Mirror Office, King Street Covent Garden
Stipple engraving
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

Frances Barton, Mrs Abington (1737-1815) as ‘Roxalana’ in Isaac Bickerstaff’s ‘The Sultan’ (after Sir Joshua Reynolds PRA)

 

 

Monthly Mirror

The Monthly Mirror was an English literary periodical, published from 1795 to 1811, founded by Thomas Bellamy, and later jointly owned by Thomas Hill and John Litchfield. It was published by Vernor & Hood from the second half of 1798.

The Mirror concentrated on theatre, in London and the provinces. The first editor for Hill was Edward Du Bois. From 1812 it was merged into the Theatrical Inquisitor.

Text from the Wikipedia website

 

Frances Abington

Frances “Fanny” Abington (1737 – 4 March 1815) was a British actress, known not only for her acting, but her sense of fashion. …

Her Shakespearean heroines – Beatrice, Portia, Desdemona and Ophelia – were no less successful than her comic characters – Miss Hoyden, Biddy Tipkin, Lucy Lockit and Miss Prue. Mrs. Abington’s Kitty in “High Life Below Stairs” put her in the foremost rank of comic actresses, making the mob cap she wore in the role the reigning fashion. This cap was soon referred to as the “Abington Cap” and frequently seen on stage as well as in hat shops across Ireland and England. Adoring fans donned copies of this cap and it became an essential part of the well-appointed woman’s wardrobe. The actress soon became known for her avant-garde fashion and she even came up with a way of making the female figure appear taller. She began to wear this tall-hat called a ziggurat complete with long flowing feathers and began to follow the French custom of putting red powder on her hair (Richards).

It was as the last character in Congreve’s Love for Love that Sir Joshua Reynolds painted the best-known of his half-dozen or more portraits of her. In 1782 she left Drury Lane for Covent Garden. After an absence from the stage from 1790 until 1797, she reappeared, quitting it finally in 1799. Her ambition, personal wit and cleverness won her a distinguished position in society, in spite of her humble origin.

Text from the Wikipedia website

 

Joshua Reynolds (British, 1723-1792) 'Portrait of Mrs. Abington (1737-1815)' 18th century

 

Joshua Reynolds (British, 1723-1792)
Portrait of Mrs. Abington (1737-1815)
18th century
Oil on canvas
74cm (29.1″); Width: 61.5cm (24.2″)
Denver Art Museum, Berger Collection
Public domain

 

William Ridley (British, 1764-1838) 'Revd John Yockney, Staines' Nd

 

(7) William Ridley (British, 1764-1838) (sculptor)
Revd John Yockney, Staines
Nd
Stipple engraving
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

William Ridley (British, 1764-1838) 'August von Kotzebue' April 30, 1799

 

(8) William Ridley (British, 1764-1838) (sculptor)
Vernor & Hood (British) (31 Poultry) (publisher)
August von Kotzebue
April 30, 1799
Engraved by Ridley from an Original Picture Painted at Berlin
Published as the Act directs by Vernor & Hood, 31 Poultry
Stipple engraving
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

 

August von Kotzebue

August Friedrich Ferdinand von Kotzebue (German 1761 – 23 March [O.S. 11 March] 1819) was a German dramatist and writer who also worked as a consul in Russia and Germany.

In 1817, one of Kotzebue’s books was burned during the Wartburg festival. He was murdered in 1819 by Karl Ludwig Sand, a militant member of the Burschenschaften. This murder gave Metternich the pretext to issue the Carlsbad Decrees of 1819, which dissolved the Burschenschaften, cracked down on the liberal press, and seriously restricted academic freedom in the states of the German Confederation.

Text from the Wikipedia website

 

William Ridley (British, 1764-1838) 'General Washington' April 1st 1800

 

(9) William Ridley (British, 1764-1838) (sculptor)
J. Sewell (British) (32 Cornhill) (publisher)
General Washington
April 1st 1800
European Magazine
Engraved by Ridley from an Original Picture in the Possession of Saml. Vaughan Esq.
Stipple engraving
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

This engraving was probably published to memorialise Washington’s death in December 1799

 

 

George Washington

George Washington (February 22, 1732 – December 14, 1799) was an American political leader, military general, statesman, and Founding Father who served as the first president of the United States from 1789 to 1797. Previously, he led Patriot forces to victory in the nation’s War for Independence. He presided at the Constitutional Convention of 1787, which established the U.S. Constitution and a federal government. Washington has been called the “Father of His Country” for his manifold leadership in the formative days of the new nation.

Washington received his initial military training and command with the Virginia Regiment during the French and Indian War. He was later elected to the Virginia House of Burgesses and was named a delegate to the Continental Congress, where he was appointed Commanding General of the Continental Army. He commanded American forces, allied with France, in the defeat and surrender of the British during the Siege of Yorktown. He resigned his commission after the Treaty of Paris in 1783.

Washington played a key role in adopting and ratifying the Constitution and was then elected president (twice) by the Electoral College. He implemented a strong, well-financed national government while remaining impartial in a fierce rivalry between cabinet members Thomas Jefferson and Alexander Hamilton. During the French Revolution, he proclaimed a policy of neutrality while sanctioning the Jay Treaty. He set enduring precedents for the office of president, including the title “President of the United States”, and his Farewell Address is widely regarded as a pre-eminent statement on republicanism.

Washington owned slaves, and in order to preserve national unity he supported measures passed by Congress to protect slavery. He later became troubled with the institution of slavery and freed his slaves in a 1799 will. He endeavoured to assimilate Native Americans into Anglo-American culture but combated indigenous resistance during occasions of violent conflict. He was a member of the Anglican Church and the Freemasons, and he urged broad religious freedom in his roles as general and president. Upon his death, he was eulogised as “first in war, first in peace, and first in the hearts of his countrymen”. He has been memorialised by monuments, art, geographical locations, stamps, and currency, and many scholars and polls rank him among the greatest U.S. presidents.

Text from the Wikipedia website

 

William Ridley (British, 1764-1838) 'Mr Dignum, of the Theatre Royal, Drury Lane' Jany. 1, 1799

 

(10) William Ridley (British, 1764-1838) (sculptor)
Bellamy & Roberts (British) (Cornhill) (publisher)
Mr Dignum, of the Theatre Royal, Drury Lane
Jany. 1, 1799
European Magazine
Painted by Drummond
Published by J. Sewell
Stipple engraving
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

 

Charles Dignum

Charles Dignum (c. 1765 – 29 March 1827) was a popular tenor singer, actor and composer of English birth and Irish parentage who was active in recital, concert and theatre stage, mainly in London, for about thirty years. …

Dignum and William Shield, Charles Incledon, Charles Bannister, ‘Jack’ Johnstone, Charles Ashley and William Parke (oboeist) in 1793 formed themselves into ‘The Glee Club’, a set which met on Sunday evenings during the season at the Garrick’s Head Coffee House in Bow Street, once a fortnight, for singing among themselves and dining together. A project to erect a bust to Dr Thomas Arne, which this group proposed to fund by charitable performances, was vetoed by the management of Covent Garden.

His obituarist remarked, ‘Dignum, with many ludicrous eccentricities, was an amiable, good-natured, jolly fellow.’ He married Miss Rennett, the daughter of an attorney, whose fortune helped to sustain them. After her death he suffered a period of ‘mental derangement’ in misery at her loss, and also suffered from much unhappiness when his granddaughter was kidnapped for a period, for which the offender was prosecuted and transported. A contemporary of the great Michael Kelly, of Charles Incledon and (latterly) of John Braham, he had to work hard for public favour and to withstand attacks referring to his humble origins, his religion and his physical ungainliness (he became quite fat): but, having obtained respect for his skills and good character, he held his place in the affection of his admirers, made large sums at his benefits in later years, and was able to retire with some fortune. He died of inflammation of the lungs in Gloucester Street, London, aged 62 in 1827.

Text from the Wikipedia website

 

Samuel Drummond

Samuel Drummond ARA (25 December 1766, London – 6 August 1844, London) was a British painter, especially prolific in portrait and marine genre painting. His works are on display in the National Portrait Gallery, the National Maritime Museum and the Walker Art Gallery.

Drummond was born to Jane Bicknell and James Drummond, a London baker. At about thirteen Drummond was apprenticed to the sea service, working on the Baltic trade routes for six or seven years. After the navy, Drummond worked briefly as a clerk before entering the Royal Academy Schools on 15 July 1791. Drummond started his portraying with crayons and oil and within several years exhibited over three hundred pictures at the Royal Academy. In 1808 he was elected an associate of the Royal Academy.

Among Drummond’s sitters were Walter Scott, Francis Place, Elizabeth Fry and Marc Isambard Brunel. He also painted such persons as Admiral Edward Pellew, Captain William Rogers and Rear-Admiral William Edward Parry. After 1800, Drummond started large oil paintings on maritime history of the United Kingdom (The Battle of the Nile, 1st August 1798, Captain William Rogers Capturing the Jeune Richard, 1 October 1807, Admiral Duncan at the Battle of Camperdown, 11 October 1797 (1827) and a series of paintings on the death of Horatio Nelson.

For some time Drummond was employed by The European Magazine and London Review to make portraits of leading personalities of the day. Among the portraits published in The European Magazine were those of Lord Gerald Lake, Sir John Soane and Friedrich Accum.

Towards the end of the life, despite of continuing his craft, Drummond struggled financially and was frequently supported from the funds of the Royal Academy. Nearly all Drummond’s children from his three marriages became artists (five daughters and one son): Rose Emma from the first, Ellen, Eliza Ann and Jane from the second to Rose Hudson and Rosa Myra and Julian from the third one.

Text from the Wikipedia website

 

William Ridley (British, 1764-1838) 'Mrs Wollstonecraft' Feb. 1st, 1796

 

(12) William Ridley (British, 1764-1838) (sculptor)
Bellamy & Roberts (British) (King Street, Covent Garden) (publisher)
Mrs Wollstonecraft
Feb. 1st, 1796
Engraved by Ridley from a Painting by Opie
Pub.d for the Proprietors of the Monthly Mirror by T. Belamy, King St. Covent Garden
Stipple engraving
Baillieu Library Print Collection, The University of Melbourne. Gift of Marcus Bunyan

 

 

 

Mary Wollstonecraft

Mary Wollstonecraft (27 April 1759 – 10 September 1797) was an English writer, philosopher, and advocate of women’s rights. Until the late 20th century, Wollstonecraft’s life, which encompassed several unconventional personal relationships at the time, received more attention than her writing. Today Wollstonecraft is regarded as one of the founding feminist philosophers, and feminists often cite both her life and her works as important influences.

During her brief career, she wrote novels, treatises, a travel narrative, a history of the French Revolution, a conduct book, and a children’s book. Wollstonecraft is best known for A Vindication of the Rights of Woman (1792), in which she argues that women are not naturally inferior to men, but appear to be only because they lack education. She suggests that both men and women should be treated as rational beings and imagines a social order founded on reason.

After Wollstonecraft’s death, her widower published a Memoir (1798) of her life, revealing her unorthodox lifestyle, which inadvertently destroyed her reputation for almost a century. However, with the emergence of the feminist movement at the turn of the twentieth century, Wollstonecraft’s advocacy of women’s equality and critiques of conventional femininity became increasingly important.

After two ill-fated affairs, with Henry Fuseli and Gilbert Imlay (by whom she had a daughter, Fanny Imlay), Wollstonecraft married the philosopher William Godwin, one of the forefathers of the anarchist movement. Wollstonecraft died at the age of 38 leaving behind several unfinished manuscripts. She died eleven days after giving birth to her second daughter, Mary Shelley, who would become an accomplished writer and author of Frankenstein.

Text from the Wikipedia website

 

A Vindication of the Rights of Woman (1792)

A Vindication of the Rights of Woman: with Strictures on Political and Moral Subjects (1792), written by the 18th-century British proto-feminist Mary Wollstonecraft, is one of the earliest works of feminist philosophy. In it, Wollstonecraft responds to those educational and political theorists of the 18th century who did not believe women should receive a rational education. She argues that women ought to have an education commensurate with their position in society, claiming that women are essential to the nation because they educate its children and because they could be “companions” to their husbands, rather than mere wives. Instead of viewing women as ornaments to society or property to be traded in marriage, Wollstonecraft maintains that they are human beings deserving of the same fundamental rights as men.

Wollstonecraft was prompted to write the Rights of Woman after reading Charles Maurice de Talleyrand-Périgord’s 1791 report to the French National Assembly, which stated that women should only receive a domestic education; she used her commentary on this specific event to launch a broad attack against sexual double standards and to indict men for encouraging women to indulge in excessive emotion. Wollstonecraft wrote the Rights of Woman hurriedly to respond directly to ongoing events; she intended to write a more thoughtful second volume but died before completing it.

While Wollstonecraft does call for equality between the sexes in particular areas of life, such as morality, she does not explicitly state that men and women are equal. Her ambiguous statements regarding the equality of the sexes have since made it difficult to classify Wollstonecraft as a modern feminist, particularly since the word and the concept were unavailable to her. Although it is commonly assumed now that the Rights of Woman was unfavourably received, this is a modern misconception based on the belief that Wollstonecraft was as reviled during her lifetime as she became after the publication of William Godwin’s Memoirs of the Author of A Vindication of the Rights of Woman (1798). The Rights of Woman was actually well received when it was first published in 1792. One biographer has called it “perhaps the most original book of [Wollstonecraft’s] century”. Wollstonecraft’s work had a profound impact on advocates for women’s rights in the nineteenth century, in particular on the Declaration of Sentiments, the document written at the Seneca Falls Convention in 1848 that laid out the aims of the suffragette movement in the United States.

Text from the Wikipedia website

 

John Opie (British, 1761-1807) 'Mary Wollstonecraft (Mrs William Godwin)' c. 1790-1

 

John Opie (British, 1761-1807)
Mary Wollstonecraft (Mrs William Godwin)
c. 1790-1791
Oil paint on canvas
Support: 759 × 638 mm
Tate. Purchased 1884
Creative Commons CC-BY-NC-ND (3.0 Unported)

 

 

Wollstonecraft was a ground-breaking feminist. This portrait shows her looking directly towards us, temporarily distracted from her studies. Such a pose would more typically be used for a male sitter. Women would normally be presented as more passive, often gazing away from the viewer. The painting dates to around the time she published A Vindication of the Rights of Women (1792). This argued against the idea that women were naturally inferior to men and emphasised the impor