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©
VEGAP, Madrid
Walter Sickert

La Giuseppina. The Ring

1903 - 1904
Oil on canvas.
45.7 x 38.2 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
759
(
1981.74
)
Room 33
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
During his stay in Venice from autumn 1903 to summer 1904, the British painter Walter Sickert painted a series of female portraits, mostly in indoor settings showing the subjects seated on the flowerpatterned armchair of his house on the Calle dei Frati. The portrait of Giuseppina in the Thyssen-Bornemisza collection is directly related to other works for which the same young woman had posed — such as the seated Giuseppina — and to Carolina, another of his favourite models, who is depicted in The Venetian Shawl. In all these paintings the sitters are placed in an armchair parallel to the picture plane, and there is a shadow on the left, the same range of dull colours is also used and the manner of modelling contours and juxtaposing colours is also similar. Whereas in the painting of Carolina what gave the painting substance was the shawl covering her shoulders, in the Giuseppina in the collection the painter emphasises the ring at which the young woman gazes with outstretched hand. Furthermore, the casual air the scene has about it and the manner in which the figure is set against a background without depth indicate the influence of Degas.

Paloma Alarcó
20th Centurys. XIX - Pintura europea. ImpresionismoPaintingOilcanvas
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La Giuseppina. The Ring. La Giuseppina. El anillo, 1903-1904
La Giuseppina. The Ring
Walter Sickert

©

VEGAP, Madrid

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La Giuseppina. The Ring. La Giuseppina. El anillo, 1903-1904
La Giuseppina. The Ring
Walter Sickert

©

VEGAP, Madrid

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