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This fine curved terrace, which then faced on to leafy gardens (see Gore, Mornington Crescent, Tate N05099), terminates the area of Camden Town (stretching from the Regent’s Park Chester, Cumberland and Cambridge Terraces on the west to Hampstead Road on the east) conceived by Nash and rapidly developed during the first half of the nineteenth century.Behind the elegant residences facing the park Nash planned a service background, with three markets (Cumberland, Clarence and York) and a criss-cross network of little streets lined with well proportioned but relatively modest houses.He also organised the independent exhibition of this group at Goupil’s Gallery in December 1889 under the title ‘London Impressionists’.As author of the catalogue preface he acted as their spokesman.None possessed Sickert’s restless energy, nor his fierce professionalism. The Steer faction gradually gained control of the New English jury and, with the resignation of other groups, came to dominate the club. As the decade moved on, Steer abandoned the dazzling stippled handling of his early works.
They were not members of a common movement and the term ‘Impressionist’ could properly be applied only to Steer. Indeed ‘London Impressionists’, as a description of the ten exhibitors at Goupil’s, merely anticipates the inaccuracy of ‘Camden Town’, as a definition of the group of sixteen who exhibited at the Carfax Gallery in 1911.
Two to three years later, in his Glebe Place studio, Sickert held the first one-man exhibition of Steer’s work.