- Hardcover: 784 pages
- Publisher: HarperCollins; annotated edition edition (17 Jan 2005)
- Language English
- ISBN-10: 0002570831
- ISBN-13: 978-0002570831
- Product Dimensions: 23.6 x 16 x 5.4 cm
- Average Customer Review: 4.3 out of 5 stars See all reviews (3 customer reviews)
- Amazon Bestsellers Rank: 867,619 in Books (See Top 100 in Books)
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More About the Author
Product Description
Review
AUBREY BEARDSLEY was described as:
‘A haunting image of the artist, at once poignant and defiant’ Peter Parker, Daily Telegraph
‘Thoroughly researched, balanced … evenly paced … Sturgis writes with a poise and knowledge of the 1890s that inspire the reader with confidence.’ Richard Dorment, Times Literary Supplement
‘It is Sturgis’s accomplishment to have created a fascinating narrative from a life which was short, feverish and packed with artistic achievement.’ Michael Arditti, Daily Mail.
Daily Mail
'an authoritative, elegantly written, affectionate portrait of an important British artist and an enchanting, if frequently exasperating man'
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Customer Reviews
Most Helpful Customer Reviews
8 of 8 people found the following review helpful
Format:Paperback
Thorough, enchanting and consistently well researched, Sturgis' work manages with great charm to chart the progression of Sickert's art (and art standing) against the wider social and personal backdrop of a fascinating personal life. Sickert's often bizarre behaviour, his highly individual views on art and life, and his relationships, friendships (and many fallings out) are treated with laudable thoroughness and insight throughout. All in all, Sturgis has written the (almost) definitive biography of a hitherto illusive and beguiling modern artist.
Okay, the book is long, but on balance it has to be said that Sturgis has done well to condense Sickert's 82-year life into a mere 650 pages - given the source material and his subject's prodigious output he certainly could have written more...
In an ideal world, this book would reproduce a wider selection of Sickert's art. Taking the financial constraints of modern publishing and the availability of other illustrative volumes into account, however, this is a minor issue.
All in all, Sturgis should be commended for producing the first complete 'must read' biography on Walter Sickert. The audience for such a scholarly and insightful book is naturally smaller than it is for Patricia Cornwell's utterly inane 'Jack the Ripper: Case Closed' (more's the pity), but readers in any doubt should order the former - which perhaps requires a little more effort, but delivers a far deeper understanding of Sickert's colourful (and non-violent!) life.
Very impressive.
Okay, the book is long, but on balance it has to be said that Sturgis has done well to condense Sickert's 82-year life into a mere 650 pages - given the source material and his subject's prodigious output he certainly could have written more...
In an ideal world, this book would reproduce a wider selection of Sickert's art. Taking the financial constraints of modern publishing and the availability of other illustrative volumes into account, however, this is a minor issue.
All in all, Sturgis should be commended for producing the first complete 'must read' biography on Walter Sickert. The audience for such a scholarly and insightful book is naturally smaller than it is for Patricia Cornwell's utterly inane 'Jack the Ripper: Case Closed' (more's the pity), but readers in any doubt should order the former - which perhaps requires a little more effort, but delivers a far deeper understanding of Sickert's colourful (and non-violent!) life.
Very impressive.
23 of 27 people found the following review helpful
Format:Hardcover
It has to be remarked, from the outset, that this is a huge book, and one to which I was drawn largely because of the appalling perversion of investigation by which Patricia Cornwell convinced herself - in a triumph of ego over evidence - that she'd found the 'real' Jack the Ripper.
Matthew Sturgis inevitably refutes Cornwell's poor scholarship and misguided accusations, pointing out quite clearly why she was so seriously mistaken. Sickert emerges as a sexually active and promiscuous individual whose libido may have earned him a certain notoriety in polite, Victorian circles, but which nowhere even touches on the perversity and derangement of a serial killer.
Sickert was the son of an unremarkable artist who scraped a poor living with his painting. He, himself, was slow to blossom. Influenced by Whistler and Degas, for much of his life he was significant not for the work he produced, but for the people he knew. His talents don't bloom until he's into his thirties. He gets more interesting the older he becomes ... he seems to become his own artistic achievement, consciously painting images of himself which scandalise or arouse the attention of his social milieu.
Yet his art is worthy of study and admiration. He taken the ordinary, the everyday; he celebrates working women and working class life, helping democratise art and free it from the stuffy middle class salon image. Sickert exposes the exclusivity and pretensions of many of his contemporaries, and his work - often bleak, often with a 'noir' quality - is worthy of more attention than it has received in recent decades.
Overall, a fine, well-researched biography which will interest many because of the Ripper allegations. If there is one criticism, however, it is the length. Be advised, this is not light reading. It is, however, a narrative which will keep you absorbed.
7 of 23 people found the following review helpful
Format:Paperback
Matthew Sturgis has failed to find a connection between Walter Sickert and Jack the Ripper. I have found one as plain as the nose on Sickert's disguised face.
I shall not argue for Walter Sickert's guilt with regard to the five canonical Jack the Ripper murders themselves. I shall demonstrate that he created Jack the Ripper.
After Annie Chapman's murder, the second in the sequence of five, the police received a letter signed Jack the Ripper. The letter taunted the police for ineptness and predicted that they would find more corpses. The police published the letter, hoping that someone would come forward and identify the writer. No one did.
Walter Sickert constantly toyed with his identity by changing his name and appearance. He produced name changes through aliases, variations on his name, and different combinations of his initials. Authors Patricia Cornwell and Matthew Sturgis disagree on whether Sickert was the Ripper killer. She convicts; he acquits. They do agree on Sickert's changes in name and appearance. The second most important instance of a name change is found on page 239 of Walter Sickert: A Life. Sturgis reproduces one of Sickert's signatures as W*lt*r S*ck*rt. He had removed the vowels. He certainly had the ability to build another name out of these vowels.
While contemplating Sickert's penchant for name changes, I turned over in my head Walter Sickert and Jack the Ripper. The two names had the same ring. What accounted for this? I did the obvious thing and counted letters. Each name consisted of thirteen, but this numerical equivalence did not come close to explaining the eerie similarity. I had it. If you speak the names, they are rhythmically identical. A poet would observe that each contains four syllables forming two trochees. Was there more? Yes indeed. The same four vowels appear in the same order in Walter Sickert and Jack the Ripper. Each vowel is bracketed by consonants, and all the vowels are short.
If the police catch an individual running out of a stranger's house at 3:00 AM carrying a television, then we have either a string of coincidences or a burglary. Either a string of coincidences connect the first Jack the Ripper letter to Walter Sickert, or he wrote and signed it. I vote for the latter.
I shall not argue for Walter Sickert's guilt with regard to the five canonical Jack the Ripper murders themselves. I shall demonstrate that he created Jack the Ripper.
After Annie Chapman's murder, the second in the sequence of five, the police received a letter signed Jack the Ripper. The letter taunted the police for ineptness and predicted that they would find more corpses. The police published the letter, hoping that someone would come forward and identify the writer. No one did.
Walter Sickert constantly toyed with his identity by changing his name and appearance. He produced name changes through aliases, variations on his name, and different combinations of his initials. Authors Patricia Cornwell and Matthew Sturgis disagree on whether Sickert was the Ripper killer. She convicts; he acquits. They do agree on Sickert's changes in name and appearance. The second most important instance of a name change is found on page 239 of Walter Sickert: A Life. Sturgis reproduces one of Sickert's signatures as W*lt*r S*ck*rt. He had removed the vowels. He certainly had the ability to build another name out of these vowels.
While contemplating Sickert's penchant for name changes, I turned over in my head Walter Sickert and Jack the Ripper. The two names had the same ring. What accounted for this? I did the obvious thing and counted letters. Each name consisted of thirteen, but this numerical equivalence did not come close to explaining the eerie similarity. I had it. If you speak the names, they are rhythmically identical. A poet would observe that each contains four syllables forming two trochees. Was there more? Yes indeed. The same four vowels appear in the same order in Walter Sickert and Jack the Ripper. Each vowel is bracketed by consonants, and all the vowels are short.
If the police catch an individual running out of a stranger's house at 3:00 AM carrying a television, then we have either a string of coincidences or a burglary. Either a string of coincidences connect the first Jack the Ripper letter to Walter Sickert, or he wrote and signed it. I vote for the latter.
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