Walter Sickert. Painter of the Third Floor Back - ACE462.6

Exterior Collins’s Music Hall, Islington, and the Bedford Theatre (formerly The Old Bedford), Camden Town. Sketches and paintings including Little Dot Heatherington at the Old Bedford Music Hall (c.1888-1889), Gatti's Hungerford Palace of Varieties: Second Turn of Katie Lawrence (c.1903). Sketches and paintings illustrating Sickert’s skill with faces and portraiture include . Portrait of Lady Noble (1905). Commentary says Sickert would tell someone to hold a pose as they were moving about in his studio. Portraits including one of Sylvia Pankhurst, and one of George Moore with a quotation from Moore about "looking a fool" over. Photograph of Sickert with Winston Churchill and others at tea; Sickert’s portrait of Churchill (1927). Photograph of Sickert with his painting of the Prince of Wales (Duke of Windsor), based on a press photograph. Photographs of Sickert. Etching of Roger Fry: commentary on Sickert’s attitude to modern art. Sickert’s portrait of Wilson Steer (c.1890). The Royal Academy, to which Sickert was elected in 1934 (quote from him over). Students in life class, some using easels designed by Sickert. Bronze of Sickert. Photograph of Sickert in academic gown. Scenes in Bath. Drawing and several paintings of Pulteney Bridge, Bath, and other views in and around the city. Drawing squared up and a painting of the same city view. Sickert quoted over: "Draw direct sketches from Nature, and your pictures from drawings". Nineteenth-century engravings – including one by John Gilbert – squared up for reproduction together with the paintings Sickert derived from them. Collection of photographs, mainly of himself, which Sickert used as reference: Sickert reaching into his wine cellar beside painting of the same subject; Sickert seated in his garden shelter at Bathampton beside painting. Squared up photograph of Sickert at table, the basis for Lazarus Breaks His Fast (1927). Photograph of Sickert at exhibition; art students looking at engraving by Hogarth alongside Sickert’s lay figure. Photographs of Sickert and his third wife, Thérèse Lessore; programme for his one-man show at the National Gallery. "Finish consists in relating the figures and the objects in a picture one to the other and to their setting..." Paintings including Brighton Pierrots (1915). Cicely Hey (1922-1923). La Giuseppina. The last photograph of Sickert (with Therese) before his death, showing his painting of Temple Bar (c.1941); commentary describes how he would run through it on his way to school. The End