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Alfred Sisley
Alfred Sisley
Alfred Sisley
(1839-1899)

Sisley Alfred
Born in Paris from English parents, it made its studies in France, then was sent in London to initiate itself with the trade, for which his father intended it. Not showing no provision however there, it decided to be devoted to the drawing and painting.

In 1860, it entered the workshop of the Swiss painter Charles Gabriel Gleyre, where it met Claude Monet , Auguste Renoir ,Camille Pissarro and Frederic Bazille. In their company, it started to work in the open air, in particular in the surroundings of Fontainebleau, in Louveciennes and Bougival.

In 1866, two of its pictures were allowed with the Show, of which Châtaigniers at La Celle-Saint-Cloud (Museum of the Petit Palais, Paris), who testifies to the influence of Theodore Rousseau. It also exposed to the Show the two following years, before being exiled in London during the war free-Prussian of 1870. If, until 1870, date of the ruin of his father, it had rather the appearance of a painter amateur, his participation in 1874 in the first impressionist exposure placed it among the innovative painters of the time. Up to that point, its pictures revealed the combined influence of Gustave Courbet, Eugene Boudin and Camille Corot, particularly in their harmonious and soft colors.
Consequently, its technique became more vibrating, its colours more chatoyants: Sisley privileged in particular the plays of light on water (the Seine, the Thames, Saint Martin's day channel), the ciels and the fogs, or pearly subtleties of the snow-covered landscapes (Montmartre, sight taken of the city to the flowers).

This taste for the fugitive one and the transitory one made of him the type even of the artist working directly on nature: "It is necessary, said it, that the invoice, in certain moments packed, communicates to the witness the emotion that the painter felt" In 1879, it settled close to Moret, then with Moret-on-Loing in September 1897, where he passed the remainder of his life in loneliness, refusing even to take part in the last impressionist exposure in 1886.

As from the years 1885, its work evolved to a more powerful chromatism: renouncing with the gray, blue and green very pale of its calm landscapes of the years 1870 - that it repeated readily at various seasons -, it indeed used orange and the purple deep ones (the church of Moret, 1893, Musée of the Art, Rouen), applied in heavy swept keys. Among his works famous, one will retain the Seine with Bougival (1872, Yale University Art Gallery New Haven ), Snow with Louveciennes (1874, Phillips Collection, Washington), Flood at Port-Marly (1876, Musée of Orsay, Paris) and Street of Moret (1888, The Art Institute of Chicago).

Although one lent little attention to works of Alfred Sisley of alive sound, its importance is recognized today. Its art does not certainly have all the force and the audacity which a painter like Monet developed. However, work of Alfred Sisley remains specific within the impressionist movement: whereas Pissarro was primarily land, he was the painter of the imponderable ones: all its art "is suggested", with a great delicacy of key, full with poetry.


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