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Long regarded as simply a follower of the Impressionists, he has now come to be seen to have strong affinities with a wide range of artists from Hogarth to Keene, from 19th-century German illustrators to Rouault and Munch. He embraced formal portraiture and idyllic landscape, controversial domestic scenes (such as \"Camden Town Murder\"), and portrayals of public figures, the canals of Venice, the old streets of Dieppe and contemporary scenes of England in the 1930s. 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For sixty years, in his roles as painter, teacher, and polemicist, he was a source of inspiration and influence to successive generations of British painters. With his roots in the Victorian era, Sickert broke all taboos. He was uncompromisingly truthful, revealing beauty in the squalid as in the sublime: in cockney music halls, the crumbling streets of Dieppe, the grand sites of Venice, and the low-life of Camden Town. Decades before Warhol, he exploited the potential of photo-based imagery and of studio production lines to create iconic portraits of the grandees of theatrical, social, and political life. 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Gardiner's unique geological interpretation of landscape not only describes the current lie of the land but portrays it as a complex outcome of natural processes over vast periods of time. While indebted to British and American modernism, Gardiner's new conceptual rigour and technical repertoire is informed by science, geomorphology, new technologies and direct physical engagement with ancient landscapes. Following a distinguished international teaching career, based in Britain and the United States, Gardiner's landscape subjects have included geographically varied locations from the Jurassic Coast in his native Dorset and the rugged Atlantic seaboard of Cornwall, to the jagged volcanic topographies of the Brazilian oceanic islands and the Lake District. 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Both the style and the idea of creating an exhibiting society were formed by the interchange of ideas and influences at 19 Fitzroy Street, where in 1907, Walter Sickert first organized a number of painters - the Fitzroy Street Group - to contribute jointly to the rent of a studio. The style encompassed paintings domestic in scale, unpretentious in subject matter, informal and lively in execution. Its favourite themes included humble models, nude or clothed, shabby bed-sitters; domestic still lives; London townscapes and landscapes studied on visits to the country and abroad. Sickert's own sombre paintings, in particular the Camden Town Murder series, have come to represent the group's oeuvre but, in this text, the author explores the range of work created through and beyond the heyday of Camden Town painting by his younger colleagues, in particular Spencer Gore, Harold Gilman, Charles Ginner, Robert Bevan and Malcolm Drummond. 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