First, because he used alternative titles for the same images and sometimes overlapping titles for different ones and second, because there are at its margins peripheral works – like Dawn: Camden Town – which share the locality, the bedroom interiors and the sinister charge, but without any reference to murder in their titles.Īnna Robins has published pages from the catalogues for the Carfax Gallery exhibitions of 19 (fig.6). 3) The exact boundaries of Sickert’s series are rather fuzzy. four walls spoke only of the silent shades of the past, watching us in the quiet dusk’. (Sickert sought these rooms out: where a friend saw only ‘a forlorn hole, cold, cheerless’, he saw ‘the contre-jour lighting that he loved, stealing in through a small single window, clothing the poor place with light and shadow. 2 What they have in common is a sifting of the formal and psychological possibilities available in the juxtaposition of a clothed man, with a naked woman on an iron bedstead, in a ‘third floor back’. ‘The Camden Town Murder’ is both the name of an event, christened in the newspapers, and the title of a painting – indeed the umbrella title for a series of images.
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