Walter Sickert. Painter of the Third Floor Back - ACE462.2

Photograph of Walter Sickert (1860-1942) around 1930, "one of the outstanding British painters of his time". Islington Public Library (Holloway Road): an early portrait of Sickert, a librarian going through part of collection of materials made by Sickert’s Trustees: books of cuttings, a palette, a copper plate and etching, magazines and illustrations, advertisements for some of his classes, manuscript. Photograph of wooden figure being carried upstairs and a painting suggested by it, Lazarus Raised from the Dead. Wooden lay figure, which Sickert believed had once belonged to William Hogarth. Carved wooden figures of troupe of seventeenth-century Italian actors. Portrait of Sickert. Photograph of Sickert with French painter. Photographs of Sickert. Catalogue of painting by his Danish father and grandfather. Self Portrait (c.1840s) by his father, Oswald; Sickert’s description of him over. Portrait of his mother, Eleanor (Ellen) Louisa Moravia. Early film of street scenes round Piccadilly Circus. Drawing of life class: Sickert’s early desire to become an actor soon gave way to an urge to paint; he became the pupil of James Whistler (portrait). Whistler’s sketch of Sickert when his assistant. Typical paintings of the period: Frank Bramley’s A Hopeless Dawn (1888), J P G Pettie’s Two Strings to Her Bow (1882), Chatterton by Henry Wallis (1856), another. Paintings by Whistler including The Lady of the Lang Lijsen (1864) and three "typical portraits"; three early pictures by Sickert "almost identical" to these. Picture of Whistler with Arrangement in Grey and Black (aka Whistler’s Mother, 1871), which Sickert took to Paris for him. Sketch by Sickert, "said to be" a portrait of Edgar Degas. Picture by Degas, Six Friends at Dieppe (1885), one of whom is Sickert. Commentary says that "many of Degas’s paintings have qualities that suggest Sickert’s approach to his own work": The Millinery Shop (c.1884-1890), Waiting: Dancer and Woman with Umbrella (c.1882), The Rape / Le Viol (1868-1869). Sickert’s work shows clear influence of Degas and the French school which "freed him from Whistler’s mannerisms: examples. Photograph of Sickert. Footage of Venice, "one of the main centres of the European tradition of painting". Early Venetian pictures by Sickert: views of San Giorgio Maggiore, Santa Maria della Salute, Rialto Bridge, etc. Another painting of Santa Maria della Salute of a type which Sickert later called "façade painting". Other paintings of Venetian scenes. Sketch and paintings of St. Mark’s, Venice (Pax Tibi Marce Evangelista Meus) (c.1896). Two Women on a Sofa: Le Tose (c.1903-1904). Portraits of model La Giuseppina and her mother (called by Sickert "Mama Mia Poveretta"). La Giuseppina against a Map of Venice (1903-1904). Other paintings