Mornington Crescent
Walter Richard Sickert RA RBA (31 May 1860 – 22 January 1942) was a British painter and printmaker who was a member of the Camden Town Group of Post-Impressionist artists in early 20th-century London. He was an important influence on distinctively British styles of avant-garde art in the mid- and late 20th century.
Sickert was a cosmopolitan and eccentric who often favoured ordinary people and urban scenes as his subjects. His work includes portraits of well-known personalities and images derived from press photographs. He is considered a prominent figure in the transition from Impressionism to Modernism.
Just before the First World War he championed the avant-garde artists Lucien Pissarro, Jacob Epstein, Augustus John and Wyndham Lewis. At the same time Sickert founded, with other artists, the Camden Town Group of British painters, named from the district of London in which he lived. This group had been meeting informally since 1905, but was officially established in 1911. It was influenced by Post-Impressionism and Expressionism, but concentrated on scenes of often drab suburban life; Sickert himself said he preferred the kitchen to the drawing room as a scene for paintings.
From 1908 to 1912, and again from 1915 to 1918, he was an influential teacher at Westminster School of Art, where David Bomberg, Wendela Boreel, Mary Godwin and John Doman Turner were among his students. He founded a private art school, Rowlandson House, in the Hampstead Road in 1910. It lasted until 1914; for most of that period its co-principal and chief financial supporter was the painter Sylvia Gosse, a former student of Sickert. He also briefly set up an art school in Manchester where his students included Harry Rutherford.
The crescent has a number of literary and artistic associations. The artist Frank Auerbach has a studio nearby and has often painted the crescent and surrounding area. The crescent was a popular subject of the Camden Town Group; the painter Walter Sickert lived there from 1905, at number 6, and Spencer Gore lived at number 31 from 1909 to 1912. Clarkson Stanfield (a painter friend of Charles Dickens) lived at number 36 from 1834 to 1841. The painter Harden Sidney Melville lived for a time at number 34. Dickens went to a school, Wellington House Academy, on Granby Terrace adjoining Mornington Crescent, after his spell working in a blacking warehouse.
Mornington Crescent & Carreras building, 2020. Google Earth / Landsat & Copernicus satellites / Adobe Lightroom.
Mornington Crescent & Carreras building, 2020. Google Earth / Landsat & Copernicus satellites / Adobe Lightroom.
Mornington Crescent & Carreras building, 2020. Google Earth / Landsat & Copernicus satellites / Adobe Lightroom.
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.
After the death of his second wife in 1920, Sickert relocated to Dieppe, where he painted scenes of casinos and café life until his return to London in 1922. In 1924, he was elected an Associate of the Royal Academy (ARA).
In 1926 he suffered an illness, thought to have been a minor stroke. In 1927, he abandoned his first name in favour of his middle name, and thereafter chose to be known as Richard Sickert.His style and subject matter also changed: Sickert stopped drawing, and instead painted from snapshots usually taken by his third wife, Thérèse Lessore, or from news photographs. The photographs were squared up for enlargement and transferred to canvas, with their pencil grids plainly visible in the finished paintings.
Seen by many of his contemporaries as evidence of the artist's decline, Sickert's late works are also his most forward-looking, and prefigure the practices of Chuck Close and Gerhard Richter. Other paintings from Sickert's late period were adapted from illustrations by Victorian artists such as Georgie Bowers and John Gilbert. Sickert, separating these illustrations from their original context and painting them in poster-like colours so that the narrative and spatial intelligibility partly dissolved, called the resulting works his "English Echoes".
Urban form and deprivation: A contemporary proxy for Charles Booth's analysis of poverty.
Laura Vaughan and Ilaria Geddes