REMBRANDT Harmenszoon van Rijn
REMBRANDT Harmenszoon van Rijn's Oil Paintings
REMBRANDT Museum
July 15, 1606 – October 4, 1669. Dutch painter.

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Here are all the paintings of Walter Sickert 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
28194 Aubrey Beardsley Walter Sickert Aubrey Beardsley 1894 Oil on canvas 76.1 x 31 cm (30 x 12 1/4 in) Tate Gallery London (mk63)
23068 Bathers-Dieppe (nn02) Walter Sickert Bathers-Dieppe (nn02) c.1902 Oil on canvas 51 3/4x41 1/8"
3843 Cicely Hey Walter Sickert Cicely Hey 1922-23 25.25" x 30.25" The British Council
3841 Ennui Walter Sickert Ennui c1913 Tate Gallery, London
23070 Gatti's Hungerford Palace of Varieties Second Turn of Katie Lawrence (nn02) Walter Sickert Gatti's Hungerford Palace of Varieties Second Turn of Katie Lawrence (nn02) c.1887-1888 Oil on canvas mounted on hardboard 33 1/4x39 1/8"
28468 Gatti's Hungerford Palace of Varieties:Second Turn of Katie Lawrence Walter Sickert Gatti's Hungerford Palace of Varieties:Second Turn of Katie Lawrence c 1887-8 Oil on canvas mounted on board 84.4 x 99.3 cm (33 1/4 x 39 1/8 in) Art Gallery of New South Wales Sydney (mk63)
28193 George Moore Walter Sickert George Moore 1891 Oil on canvas 60.3 x 50.2 cm (23 3/4 x 19 3/4 in) Tate Gallery London (mk63)
60791 Henry Tonks. Walter Sickert Henry Tonks. Henry Tonks. Sodales: Mr Steer and Mr Sickert, 1930.
3832 Interior of St Mark's, Venice Walter Sickert Interior of St Mark's, Venice 1896 27 1/2" x 19 3/8" Tate Gallery, London
3839 Jack Ashore Walter Sickert Jack Ashore 1911 13" x 16" Private Collection
3846 King George V and Queen Mary Walter Sickert King George V and Queen Mary c1935 24.5" x 29.75" Private Collection
3836 La Giuseppina Walter Sickert La Giuseppina 1903-04 19" x 14.5" Private Collection
53938 La Hollandais Walter Sickert La Hollandais mk234 1906 50x40cm
3837 La Hollandaise Walter Sickert La Hollandaise 1905 20" x 16" Private Collection
3845 Lazurus Breaks His Fast Walter Sickert Lazurus Breaks His Fast 1927 30" x 25" Private Collection
27105 Self-Portrait Walter Sickert Self-Portrait mk52 1907 Watercolour and pastel on paper 75.3x60cm
3831 St Mark's Cathedral, Venice Walter Sickert St Mark's Cathedral, Venice c1896 25" x 19" Private Collection
3838 The Juvenile Lead Walter Sickert The Juvenile Lead 1908 20" x 18" The Southampton Art Gallery, UK
3842 The New Bedford Walter Sickert The New Bedford 1915 30" x 15" The Tate Gallery, London
3840 The New Home Walter Sickert The New Home c1912 20" x 16" Private Collection
3833 The Old Bedford Walter Sickert The Old Bedford 1897 30" x 23.75" The Walker Art Gallery, Liverpool
3834 The Quai Duquesne and the Rue Notre Dame, Dieppe Walter Sickert The Quai Duquesne and the Rue Notre Dame, Dieppe 1900 22" x 18.25" Private Collection
3835 The Statue of Duquesne, Dieppe Walter Sickert The Statue of Duquesne, Dieppe 1902 51.5" x 39.75" The City Art Gallery, Manchester
3844 Victor Lecour Walter Sickert Victor Lecour 1922-24 32" x 23.75" The City Art Gallery, Manchester
60790 Walter Sickert, The Camden Town Murder, originally titled, Walter Sickert Walter Sickert, The Camden Town Murder, originally titled, Walter Sickert, The Camden Town Murder, originally titled, What Shall We Do for the Rent?,[5], alternatively, What Shall We Do to Pay the Rent,[6] 1908 (detail)
Walter Sickert
German 1860-1942 Walter Sickert Gallery Walter Richard Sickert (May 31, 1860 in Munich, Germany ?C January 22, 1942 in Bath, England) was a German-born English Impressionist painter. Sickert was a cosmopolitan and eccentric who favoured ordinary people and urban scenes as his subjects 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".[3] Sickert's earliest major works were portrayals of scenes in London music halls, often depicted from complex and ambiguous points of view, so that the spatial relationship between the audience, performer and orchestra becomes confused, as figures gesture into space and others are reflected in mirrors. The isolated rhetorical gestures of singers and actors seem to reach out to no-one in particular, and audience members are portrayed stretching and peering to see things that lie beyond the visible space. This theme of confused or failed communication between people appears frequently in his art. By emphasising the patterns of wallpaper and architectural decorations, Sickert created abstract decorative arabesques and flattened the three-dimensional space. His music hall pictures, like Degas' paintings of dancers and caf??-concert entertainers, connect the artificiality of art itself to the conventions of theatrical performance and painted backdrops. Many of these works were exhibited at the New English Art Club, a group of French-influenced realist artists with which Sickert was associated. At this period Sickert spent much of his time in France, especially in Dieppe where his mistress, and possibly his illegitimate son, lived
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