Alfred Sisley
Paintings
Snow Effect at Louveciennes
The Canal at Saint-Mammes
Landscape. Spring at Bougival
Saint Mammes June Sunshine
The Loing at Moret in Summer
Aqueduct at Marly
The Seine at Billancourt
Banks of the Loing, Autumn Effect
Banks of the Loing River
The Bridge at Saint-Mammes
The Seine at Port-Marly
The Watering Place at Marly-le-Roi
June Morning in Saint-Mammes
A Path at Les Sablons
The Flood on the Road to Saint-Germain
Snow at Louveciennes
Orchard in Spring. By
Women Going to the Woods
Boat in the Flood at Port Marly
The Loing's Canal
Bridge at Moret-sur-Loing
Bougival
Fog, Voisins
The Old Church at Moret in Morning Sun
Rest along the Stream, Edge of the Wood
Chemin a l'entree d'un bois
La Crue du Loing a Moret
Petit pont sur l'Orvanne
The Terrace at Saint-Germain, Spring
Molesey Weir, Hampton Court
Landscape at Louveciennes
Moret-sur-Loing
The Edge of the Forest
First Snow at Veneux-Nadon
Moret-sur-Loing. Morning
The Village of Sablons
The Chestnut Tree at Saint-Mammes
The Edge of the Forest 2
The Banks of the River Loing
Flood at Port-Marly
Canal du Loing-Chemin de Halage
Allee of Chestnut Trees
View of the Canal Saint -Martin in ParisAqueduct in Port Marly
Avenue of trees in a small town
Bridge and Mill at Moret in Summer
Bridge at Moret in the Morning Sun
The small meadows in the spring , By
Village on the banks of the Seine
River Landscape by Moret-sur-Loing
Garden in Louveciennes in the snow
Grain fields on the hills of Argenteuil
Houses on the banks of the Loing
Barges on the Canal Saint-Martin in Paris
Chestnut Avenue in Celle-Saint-Claude
Chestnut Avenue in Celle-Saint-Claude
Church of Moret, After the Rain
Machinery house of the pump in Marly
Normandy path on the water , in the evening at Sahurs
Walnut trees at sunset in early October
Seine at Port Marly, with a pile of sand
Street in Louveciennes in the snow
Under the Bridge at Hampton Court
Way in Veneux- Nadon in spring
Way to severes , at Louveciennes
Landscape (Spring at Bougival)
Drawings, Illustrations
Goose Girl at Sablons
The Geese
The banks of the Loing at Saint- Mammès
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Alfred Sisley (/ˈsɪsli/; French: [sislɛ]; 30 October 1839 – 29 January 1899) was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting landscape en plein air (i.e., outdoors). He deviated into figure painting only rarely and, unlike Renoir and Pissarro, found that Impressionism fulfilled his artistic needs.
Portrait of the painter Alfred Sisley, Pierre-Auguste Renoir
| Alfred Sisley
Teacher of: Daniel Ridgway Knight (1839-1924) |
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Among his important works are a series of paintings of the River Thames, mostly around Hampton Court, executed in 1874, and landscapes depicting places in or near Moret-sur-Loing. The notable paintings of the Seine and its bridges in the former suburbs of Paris are like many of his landscapes, characterized by tranquillity, in pale shades of green, pink, purple, dusty blue and cream. Over the years Sisley's power of expression and color intensity increased.[1]
Biography
Pierre-Auguste Renoir, Alfred Sisley and his wife
Molesey Weir – Morning, one of the paintings executed by Sisley on his visit to Britain in 1874
Rest along the Stream. Edge of the Wood, 1878, Musée d'Orsay
Sisley was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, and his mother Felicia Sell was a cultivated music connoisseur.
In 1857 at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. From 1862, he studied at the Paris École des Beaux-Arts within the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Frédéric Bazille, Claude Monet, and Pierre-Auguste Renoir. Together they would paint landscapes en plein air rather than in the studio, in order to realistically capture the transient effects of sunlight. This approach, innovative at the time, resulted in paintings more colorful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work. Their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a better financial position than some of his fellow artists, as he received an allowance from his father.
In 1866, Sisley began a relationship with Eugénie Lesouezec (1834–1898; also known as Marie Lescouezec), a Breton living in Paris. The couple had two children: son Pierre (born 1867) and daughter Jeanne (1869).[2] At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, the gathering-place of many Parisian painters.
In 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success; nor did subsequent exhibitions.[1]
In 1870 the Franco-Prussian War began, and as a result Sisley's father's business failed and the painter's sole means of support became the sale of his works. For the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death.[3] Occasionally, however, Sisley would be backed by patrons; and this allowed him, among other things, to make a few brief trips to Britain.
The first of these occurred in 1874 after the first independent Impressionist exhibition. The result of a few months spent near London was a series of nearly twenty paintings of the Upper Thames near Molesey, which was later described by art historian Kenneth Clark as "a perfect moment of Impressionism."
Until 1880, Sisley lived and worked in the country west of Paris; then he and his family moved to a small village near Moret-sur-Loing, close to the forest of Fontainebleau, where the painters of the Barbizon school had worked earlier in the century. Here, as art historian Anne Poulet has said, "the gentle landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the rampaging ocean or the brilliantly colored scenery of the Côte d'Azur."[4]
In 1881 Sisley made a second brief voyage to Britain.
In 1897 Sisley and his partner visited Britain again, and were finally married in Cardiff Register Office on 5 August.[5] They stayed at Penarth, where Sisley painted at least six oils of the sea and the cliffs. In mid-August they moved to the Osborne Hotel at Langland Bay on the Gower Peninsula, where he produced at least eleven oil paintings in and around Langland Bay and Rotherslade Bay (then called Lady's Cove). They returned to France in October. This was Sisley's last voyage to his ancestral homeland. The National Museum Cardiff possesses two of his oil paintings of Penarth and Langland.
The following year Sisley applied for French citizenship, but was refused. A second application was made and supported by a police report, but illness intervened,[6] and Sisley remained British till his death.
The painter died on 29 January 1899 in Moret-sur-Loing at the age of 59, a few months after the death of his wife.
Work
Lane Near a Small Town (c. 1864), one of the earliest extant paintings by Sisley
Sisley's student works are lost. His earliest known work, Lane near a Small Town, is believed to have been painted around 1864. His first landscape paintings are sombre, coloured with dark browns, greens, and pale blues. They were often executed at Marly and Saint-Cloud. Little is known about Sisley's relationship with the paintings of J. M. W. Turner and John Constable, which he may have seen in London, but some have suggested that these artists may have influenced his development as an Impressionist painter,[7] as may have Gustave Courbet and Jean-Baptiste-Camille Corot.
La Seine au point du jour, 1877, Musée Malraux, Le Havre
Among the Impressionists, Sisley has been overshadowed by Monet, whose work his resembles in style and subject matter, although Sisley's effects are more subdued.[8] Described by art historian Robert Rosenblum as having "almost a generic character, an impersonal textbook idea of a perfect Impressionist painting",[9] his work strongly invokes atmosphere, and his skies are always impressive. He concentrated on landscape more consistently than any other Impressionist painter.
Among Sisley's best-known works are Street in Moret and Sand Heaps, both owned by the Art Institute of Chicago, and The Bridge at Moret-sur-Loing, shown at Musée d'Orsay, Paris. Allée des peupliers de Moret (The Lane of Poplars at Moret) has been stolen three times from the Musée des Beaux-Arts in Nice – once in 1978 when on loan in Marseilles (recovered a few days later in the city's sewers), again in 1998 (when the museum's curator was convicted of the theft and jailed for five years with two accomplices) and finally in August 2007 (on 4 June 2008 French police recovered it and three other stolen paintings from a van in Marseilles).[10]
A large number of fake Sisleys have been discovered. Sisley produced some 900 oil paintings, some 100 pastels and many other drawings, although he only lived to be 59 years old.[11]
Selected works
The Terrace at Saint-Germain, Spring, 1875. The Walters Art Museum
Flood at Port-Marly, 1876. Musée d'Orsay
Lane near a Small Town (c. 1864)
Avenue of Chestnut Trees near La Celle-Saint-Cloud (c. 1865)
Village Street in Marlotte (1866)
Avenue of Chestnut Trees near La Celle-Saint-Cloud (1867)
Still Life with Heron (1867)
The Seine at St. Mammes (1867–69)
View of Montmartre from the cite des Fleurs (1869)
Early Snow at Louveciennes (c. 1871–72)
Boulevard Heloise, Argenteuil (1872)
Bridge at Villeneuve-la-Garenne (1872)
Ferry to the Ile-de-la-Loge – Flood (1872)
Footbridge at Argenteuil (1872)
La Grande-Rue, Argenteuil (c. 1872)
Square in Argenteuil (Rue de la Chaussee) (1872)
Chemin de la Machine Louveciennes (1873)
Factory in the Flood, Bougival (1873)
Rue de la Princesse, Louveciennes (1873)
Sentier de la Mi-cote, Louveciennes (1873)
Among the Vines Louveciennes (1874)
Bridge at Hampton Court (1874)
The Lesson (1874)
Molesey Weir – Morning (1874)
Regatta at Hampton Court (1874)
Regatta at Molesey (1874)
Snow on the Road Louveciennes (1874)
Under the Bridge at Hampton Court (1874)
Street in Louveciennes (Rue de la Princesse) (1875)
The Terrace at Saint-Germain, Spring (1875)
"The Terrace at Saint-Germain, Spring" (1875)
Small Meadows in Spring (c. 1881)
Le Port de Moret-sur-Loing: Le soir (1884)
The Loing at Saint-Mammès (1885), Musée Malraux, Le Havre
Storr Rock, Lady's Cove, le soir (1897)
On the cliffs, Langland Bay (1897)
Notes
[Richard Shone: Sisley. London: Phaidon Press 1999. ISBN 0-7148-3892-6]
Turner 2000, pp. 400–401.
Denvir 2000, p. 265.
Poulet 1979, p. 77.
A Sisley painting of the south Wales coast
BBC Radio 4 6 November 2008, Misfits in France
Turner 2000, p. 401.
Bomford et al. 1990, p. 203.
Rosenblum 1989, p. 306.
"French National Pleads Guilty to International Stolen Art Conspiracy". earthtimes.com. 10 July 2008. Retrieved 8 August 2007.
Alfred Sisley, page 82, François Daulte, Alfred Sisley, Cassell, 1988. ISBN 978-0-304-32222-0
References
Bomford, David, Jo Kirby, John Leighton, Ashok Roy, and Raymond White (1990). Impressionism. London: National Gallery. ISBN 0-300-05035-6
Daulte, F. (1959). Alfred Sisley Catalogue raisonnee de l'oeuvre peint
Denvir, B. (2000). The Chronicle of Impressionism: An Intimate DIary of the Lives and World of the Great Artists. London: Thames & Hudson. OCLC 43339405
Poulet, A. L., & Murphy, A. R. (1979). Corot to Braque: French Paintings from the Museum of Fine Arts, Boston. Boston: The Museum. ISBN 0-87846-134-5
Reed, Nicholas, (2008). Sisley on the Thames and the Welsh Coast. Lilburne Press. ISBN 978-1-901167-20-7
Rosenblum, Robert (1989). Paintings in the Musée d'Orsay. New York: Stewart, Tabori & Chang. ISBN 1-55670-099-7
Turner, J. (2000). From Monet to Cézanne: late 19th-century French artists. Grove Art. New York: St Martin's Press. ISBN 0-312-22971-2
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