From Library Journal
It would be an oversimplification to call Sickert the Toulouse-Lautrec of early 20th-century England. His works depicting music halls, urban landscapes, and individuals possess the same vitality his French counterpart captured, yet Sickert has been consistently treated as a bit player in English art history. Now, two new books permit an important reevaluation of his contributions. Documenting 133 paintings, Sickert Paintings proves to be the definitive--to date, at least--exhibition catalog and summary of the artist's oeuvre. The book's texts bring fresh insights in Sickert's observations of English life, while chronologies and remarks by notable contemporaries aid the clear and handsome layout. The illustrations are generally good in capturing the luminous painterly quality of Sickert's works, but an overemphasis on details from larger paintings is somewhat distracting. However, students and scholars receive copious information in a cogent package. Sickert's rich slice-of-life images of London around Camden Town and Mornington Crescent are here reproduced mostly in black and white. Connett's text focuses on Sickert's relation to the artists of the vibrant, but underrated, Camden Town Group. The author's lively narrative produces such blithe phrases as "Walter Sickert: A Born Chameleon" and equally romantic characterizations for members of the group, which included Spencer Gore, Harold Gilman, and Robert Bevan, among others. These actually strengthen her art historical evaluation, and overall her shorter text is more vivid in evoking a particular facet of English art. Both books are appropriate for scholarly consumption and are recommended for specialized collections or large general libraries. --Paula A. Baxter, NYPL
Copyright 1993 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Copyright 1993 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
