Sisley
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Sisley tirelessly chose the sky and water as subjects for his paintings, animated as they were by the changing reflections of light, for his landscapes of the regions surrounding Paris, Louveciennes, and Marly-le-Roi. This was in keeping with the painting styles of Constable, Bonington, and Turnet. Even if he had been influenced by Monet’s work at some point, Sisley drew away from his friend’s style due to his own desire for his work to follow the structure of forms. Sensitive to the changing seasons, he liked to portray spring with its blooming orchards, but it was the wintry and snowy countryside which Sisley was particularly attracted to. His reserved temperament preferred mystery and silence to the splendour of Renoir’s sunny landscapes.
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Sisley - Nathalia Brodskaya
Author: Nathalia Brodskaya
Layout:
Baseline Co Ltd
61A-63A Vo Van Tan
4th Floor
District 3, Ho Chi Minh City
Vietnam
© Confidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
All rights reserved
No part of this publication may be reproduced or adapted without the permission of the copyright holder throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification.
ISBN: 978-1-78160-635-3
Nathalia Brodskaya
Alfred
Sisley
Table of content
The Impressionists and Academic Painting
The Artist
BIOGRAPHY
LIST OF ILLUSTRATIONS
1. Avenue of Chestnut Trees at
Celle-Saint-Cloud, 1867.
Oil on canvas, 95.5 x 122.2 cm,
Southampton City Art Gallery, Southampton.
Impression: Sunrise (Impression, soleil levant, Musée Marmottan, Paris) was the prescient title of one of Claude Monet’s paintings shown in 1874 in the first exhibition of the Impressionists, or, as they called themselves then, the Société anonyme des artistes, peintres, sculpteurs, graveurs (the Anonymous Society of Artists, Painters, Sculptors, and Engravers). Monet had gone painting in his childhood hometown of Le Havre to prepare for the event, eventually selecting his best Le Havre landscapes for display. Edmond Renoir, journalist brother of Renoir the painter, compiled the catalogue. He criticised Monet for the uniform titles of his works, for the painter had not come up with anything more interesting than View of Le Havre. Among these Le Havre landscapes was a canvas painted in the early morning depicting a blue fog that seemed to transform the shapes of yachts into ghostly apparitions. The painting also depicted smaller boats gliding over the water in black silhouette, and above the horizon the flat, orange disk of the sun, its first rays casting an orange path across the sea. It was more like a rapid study than a painting, a spontaneous sketch done in oils – what better way to seize the fleeting moment when sea and sky coalesce before the blinding light of day? View of Le Havre was obviously an inappropriate title for this particular painting, as Le Havre was nowhere to be seen. "Write Impression," Monet told Edmond Renoir, and in that moment began the story of Impressionism.
On 25 April 1874, the art critic Louis Leroy published a satirical piece in the journal Charivari that described a visit to the exhibition by an official artist. As he moves from one painting to the next, the artist slowly goes insane. He mistakes the surface of a painting by Camille