Pierrot and Woman Embracing
is a carbon paper tracing with added pastel, watercolour and gouache on laid paper. The paper is light weight and off-white in tone and is in a fragile state and cockled. The sheet was originally 48 mm longer in height and width; the left and lower edges were turned under and became so brittle that they were eventually removed. The underdrawing of this work, which primarily consists of rows of lightly applied parallel lines to create depth and shadow, was probably achieved by tracing through carbon paper. As with the other carbon tracings by Sickert in the Tate collection, Dieppe, Study No 2: Facade of St Jacques
) and Sketch for ‘The Statue of Duquesne, Dieppe’
), several sheets of carbon paper have been used; pin holes found along the top edge of the work indicate that pins were probably used to register the papers during the process of tracing. Black, brown, brown/red and blue pastel, washes of watercolour and gouache were applied after the carbon tracing to embellish and emphasise certain elements of the image. In comparison to the three other carbon tracings in the Tate collection (see also N03810
), where the images primarily consist of dark outlines tinted with watercolour washes, this drawing is heavily worked in terms of additional media with less of the paper surface exposed, giving it a more finished appearance.
How to cite
Kate Jennings, 'Technique and Condition', June 2005, in Robert Upstone, ‘Pierrot and Woman Embracing c.1901 by Walter Richard Sickert’, catalogue entry, May 2009, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), The Camden Town Group in Context, Tate Research Publication, May 2012, https://www.tate.org.uk/art/research-publications/camden-town-group/walter-richard-sickert-pierrot-and-woman-embracing-r1136454, accessed 27 February 2021.