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‘Mainly Nourishment’: Echoes of Sickert in the Work of Francis Bacon and Lucian Freud

2013; Taylor & Francis; Volume: 14; Issue: 1 Linguagem: Inglês

10.1080/14714787.2013.750985

1941-8361

Martin Hammer,

Art History and Market Analysis

Click to increase image sizeClick to decrease image size Notes 1 For a broad survey coming up to the present, see Martin Hammer, ‘After Camden Town: Sickert's Legacy since 1930’, The Camden Town Group in Context Online Research Project, Tate website, Spring 2012, http://www.tate.org.uk/art/research-publications/camden-town-group/martin-hammer-after-camden-town-sickerts-legacy-since-1930-r1104349. See also James Hyman, The Battle for Realism (New Haven, CT, and London: Yale University Press, 2001). Another instance is Jock McFadyen's show ‘After Walter’, Eleven Spitalfield Gallery, London, November–December 2012). 2 David Hockney by David Hockney (London: Thames & Hudson, 1976), 34. 3 See James Hyman, ‘The Persistence of Painting: Contexts for British Figurative Painting’, in Blast to Freeze: British Art in the 20th Century, exhibition catalogue (Kunstmuseum Wolfsburg, 2002), 255–6. 4 Martin Hammer, ‘Found in Translation: Chaim Soutine and English Art’, Modernist Cultures, 5 (November 2010): 218–42. 5 Osbert Sitwell, ed., A Free House!, or The Artist as Craftsman, being the Writings of Walter Richard Sickert (London: Macmillan, 1947). 6 Martin Hammer, ‘Francis Bacon: Looking Back to Degas’, Tate Papers (on-line journal), Spring 2012. 7 See David Solkin, Turner and the Masters (London: Tate Publishing, 2009); Ian Warrell, Alan Crookham and Philippa Simpson, Turner Inspired – In the Light of Claude (New Haven, CT, and London: Yale University Press, 2012); Anne Baldassari, Elizabeth Cowling, John Elderfield, Isabelle Monod-Fontaine and Kirk Varnedoe, Matisse Picasso (London: Tate Publishing, 2002); Stephanie d'Alessandro and John Elderfield, Matisse: Radical Invention 1913–1917 (New Haven, CT, and London: Yale University Press, 2010); Elizabeth Cowling and Richard Kendall, Picasso Looks at Degas (New Haven, CT, and London: Yale University Press, 2010); Chris Stephens, ed., Picasso and Modern British Art (London: Tate Publishing 2012). 8 Sickert, ‘Risi-Bisi’ (1912), reprinted in Sitwell, A Free House!, 176. 9 Cited in Rebecca Daniels, ‘Francis Bacon and Walter Sickert: “Images which Unlock Other Images”’, in Francis Bacon: New Studies, ed. Martin Harrison (Göngen: Steidl, 2009), 74. 10 See Wendy Baron, Sickert: Paintings and Drawings (New Haven, CT, and London: Yale University Press, 2006), no. 397; Daniels, ‘Francis Bacon and Walter Sickert’, 84–6. 11 Daniels, ‘Francis Bacon and Walter Sickert’, 57–87. 12 Cited in Sebastian Smee, Lucian Freud (Cologne: Taschen, 2007), 4. 13 David Sylvester, ‘Sickert’ (1960), reprinted in On Modern Art (London: Pimlico, 1997), 155–6. 14 R. H. Wilenski, ‘Sickert's Art’, in Sickert, ed. Lillian Browse (London: Faber, 1943), 31–2. 15 Sickert's importance for Bacon's work in the 1940s is discussed in Martin Hammer, Francis Bacon and Nazi Propaganda (London: Tate Publishing, 2012). 16 The first version of Sickert's composition had been shown at the Leicester Galleries in 1936, the second at the Beaux Arts Gallery in 1937; see Baron, Sickert, no. 726. 17 Ibid., no. 337. 18 Sylvester, Looking Back at Francis Bacon (London: Thames & Hudson, 2000), 24–5. 19 Simon Ofield, ‘Wrestling with Francis Bacon’, Oxford Art Journal, 24, no 1 (2001): 113–30. 20 Hammer, ‘Found in Translation’, 230. 21 Exhibition catalogue, The Redfern Gallery, ‘Coronation Exhibition’, nos 48 and 49. 22 Baron, Sickert, no. 252. 23 Ibid., no. 692. 24 Ibid., no. 559. 25 Daniels, ‘Francis Bacon and Walter Sickert’, 82–5. 26 Discussed in Hammer, Francis Bacon and Nazi Propaganda, 207. 27 Baron, Sickert, no. 354. It may be misleading to claim that the Sickert was ‘exhibited’ at the gallery (Daniels, ‘Francis Bacon and Walter Sickert’, 66, 249, note 50). 28 Information from Catherine Lampert, e-mail to author dated August 25, 2012. 29 See Barnaby Wright, ed., Walter Sickert: The Camden Town Nudes (London: The Courtauld Gallery/Paul Holberton, 2007). 30 Sickert, ‘The Naked and the Nude’ (1910), reprinted in Sitwell, A Free House!, 324. 31 William Feaver, Lucian Freud (New York: Rizzoli, 2007), no. 108; Baron, Sickert, no. 400. 32 Feaver, Lucian Freud, no. 119; Baron, Sickert, nos 251, 334. 33 Robert Hughes, Lucian Freud: Paintings (London: The British Council, 1987), plates 37, 38; Feaver Lucian Freud, nos 166, 220. 34 Baron, Sickert, no. 253. For a better reproduction, see Wright, Walter Sickert, 71. 35 Feaver, Lucian Freud, no. 224. 36 Wright, Walter Sickert: The Camden Town Nudes, 88. 37 Feaver, Lucian Freud, no. 146; Baron, Sickert, no. 344. 38 Baron, Sickert, no. 418. 39 Sickert, ‘The Language of Art’ (1910), reprinted in Sitwell, A Free House!, 89. 40 Feaver, Lucian Freud, nos 117, 126, 129; Baron, Sickert, nos 331, 408. 41 Feaver, Lucian Freud, no. 124; Baron, Sickert, nos 247, 338. 42 Feaver, Lucian Freud, no. 210; Baron, Sickert, no. 330. 43 Sickert, ‘Where Paul and I Differ’ (1910), reprinted in Sitwell, A Free House!, 22.