Walter Richard Sickert

George Augustus Moore (1852–1933) was born at Moore Hall, Lough Carra, County Mayo, Ireland. His father, George Henry Moore (1810–1870), was a gentleman horse breeder and Member of Parliament. While the family were living in London, George Moore decided he wanted an artistic career and so enrolled as an art student in 1868, a move bitterly opposed by his parents who wanted him to join the army. The early death of Moore’s father in 1870 allowed him freedom to follow his desire, as well as the income from the family estate in Ireland.

Moore went to Paris in 1873 and enrolled first at the École des Beaux-Arts, and then at various private schools and ateliers. Realising his artistic abilities were slight, he instead turned to a literary career, and drew particular inspiration from the Nouvelle Athènes, a café frequented by artists and writers. There he met Émile Zola, who encouraged him to become a writer. During these years in Paris, Moore became friends with Edgar Degas and Edouard Manet, the latter making a portrait of him (fig.1), and he was also on intimate terms with the symbolist writers Stéphane Mallarmé, Joris-Karl Huysmans and Paul Verlaine.1

Moore returned to London in 1880, producing a series of novels, including the famous Esther Waters (1894), while also turning his attention to writing on art.2 As art critic of the Speaker he championed Manet and Degas, and modern French art as a whole. When he moved to the Saturday Review, Moore nominated Walter Sickert to replace him. In 1891 Moore published Impressions and Opinions, which included colourful essays on Zola, Verlaine, Honoré de Balzac, Arthur Rimbaud and Jules Laforgue, while his 1893 Modern Painting established him as the chief apologist for new developments in art. In this period his and Sickert’s views on art almost exactly coincided.