Walter Richard Sickert
Landscape, circa 1904 - 1907
Signed Rd.St.(lower left)
Oil on board
5.5 x 9.25ins (14 x 23.5cm) (artwork size)
9.25 x 13.19ins (23.5 x 33.5cm) (framed size)
9.25 x 13.19ins (23.5 x 33.5cm) (framed size)
Copyright The Artist
£ 14,000 + ARR
Walter Richard Sickert was one of the most influential figures in the development of modern British painting. Born in Munich and raised in England, he trained under Whistler and worked...
Walter Richard Sickert was one of the most influential figures in the development of modern British painting. Born in Munich and raised in England, he trained under Whistler and worked closely with Degas, absorbing from both a taste for unconventional viewpoints, muted tonal harmonies and the observational intensity that would define his mature style. A founding member of the Camden Town Group, Sickert moved restlessly between London, Dieppe and Venice, developing a body of work that explored the poetics of everyday life through streets, interiors and cityscapes rendered with atmospheric subtlety.
Between 1898 and 1905, Sickert produced an important series of landscapes in northern France. Seeking a decisive shift away from the London portraiture that had come to dominate his practice, he left England in the winter of 1898 and settled in Dieppe, where he remained until 1905. Although he continued to paint figures, it was the landscape and architecture of Dieppe that gradually became central to his work of this period.
This small, freely handled landscape corresponds closely to Sickert’s Dieppe years and to the series of views he painted from the elevated vantage points overlooking Le Pollet, the fishermen’s quarter of the town. The loosely brushed forms, the subdued tonalities, and the broad, fragmentary application of paint all signal Sickert’s interest in capturing the atmospheric presence of the place rather than its literal description. The tall church tower dominating the composition can be identified as Notre-Dame des Grèves, a recurring motif in his Dieppe paintings. Sickert often depicted the church from the rear, silhouetted against the distant townscape.
Sickert’s Dieppe paintings form an invaluable visual record of the town before the First World War, and this work shares many characteristics with the views now preserved in public collections. A closely related composition is held at the Courtauld Institute in London, confirming the significance of this motif within Sickert’s French landscape oeuvre.
Between 1898 and 1905, Sickert produced an important series of landscapes in northern France. Seeking a decisive shift away from the London portraiture that had come to dominate his practice, he left England in the winter of 1898 and settled in Dieppe, where he remained until 1905. Although he continued to paint figures, it was the landscape and architecture of Dieppe that gradually became central to his work of this period.
This small, freely handled landscape corresponds closely to Sickert’s Dieppe years and to the series of views he painted from the elevated vantage points overlooking Le Pollet, the fishermen’s quarter of the town. The loosely brushed forms, the subdued tonalities, and the broad, fragmentary application of paint all signal Sickert’s interest in capturing the atmospheric presence of the place rather than its literal description. The tall church tower dominating the composition can be identified as Notre-Dame des Grèves, a recurring motif in his Dieppe paintings. Sickert often depicted the church from the rear, silhouetted against the distant townscape.
Sickert’s Dieppe paintings form an invaluable visual record of the town before the First World War, and this work shares many characteristics with the views now preserved in public collections. A closely related composition is held at the Courtauld Institute in London, confirming the significance of this motif within Sickert’s French landscape oeuvre.
Provenance
PROVENANCE: Mrs Maud Morgan by whom given to the Collection of the Montreal Museum of Fine Arts
LITERATURE:
-Wendy Baron, The Camden Town Group, 1979, reproduced page 372
-Sickert Paintings and Drawings, by Wendy Baron, by Yale University Press, New Haven and London, 2006, p.239, ill.129.2
