Alfred Sisley Most Famous Paintings
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Who is Alfred Sisley?
Alfred Sisley was an impressionist landscape artist who was born in France to British parents, at the age of 18, he traveled to London to pursue a career in business but left it 4 years later knowing that his one true passion was art.
From 1862, he started studying at the École des Beaux-Arts in Paris, rather than painting in a studio, Sisley painted most of his work outdoors or "En plein air", this gave him the opportunity to capture the transient effects of sunlight more effectively, this technique made his works more colorful and broader in general.
Sisley painted about 900 oil paintings, 100 pastels, as well as other drawings, in this blog we will discuss some of the more influential and wider known of his beautiful masterpieces, so without further ado, here are 17 of Alfred Sisley's most famous paintings:
- Snow at Louveciennes by Alfred Sisley
- View of the Canal Saint-Martin by Alfred Sisley
- Bridge at Villeneuve-la-Garenne by Alfred Sisley
- The Flood at Port-Marly by Alfred Sisley
- Regatta at Molesey by Alfred Sisley
- The Small Meadows in Spring by Alfred Sisley
- The Bridge at Moret by Alfred Sisley
- The Loing's Canal by Alfred Sisley
- Chemin de la Machine Louveciennes by Alfred Sisley
- The Road from Versailles to Saint-Germain by Alfred Sisley
- Place du Chenil in Marly - Snow Effect by Alfred Sisley
- The Seine at Port-Marly, Piles of Sand by Alfred Sisley
- Allée of Chestnut Trees by Alfred Sisley
- The Banks of the Loing by Alfred Sisley
- Langland Bay by Alfred Sisley
- Rest along the Stream. Edge of the Wood by Alfred Sisley
- Fog - Voisins by Alfred Sisley
Alfred Sisley Artworks
Snow at Louveciennes by Alfred Sisley: For Sisley, the countryside in winter had a real attraction, as his solitary temperament was perfectly suited to capturing the sadness and desolation of nature. In this painting, the snow has just fallen and is still unbroken, with no footprints marking it. It is like cotton wool or felt.
Only some tree trunks and the silhouette of a woman walking away mark this unreal decor. The road leads into the background. The hill is a white stump at a far distance until a line of tall trees mix their grey-white hue with the huge sky blocked with snow and uniformly pale.
The world is buried in a great white silence. Buried, but also bleak. Was Snow at Louveciennes perhaps a reflection of Sisley's anxieties. Note the muted palette; the single, lonely figure; the dying afternoon light. There is a sense of lonely emptiness about the painting. Sisley enjoyed painting snow scenes because it allowed him to study the slight variations in the light, and to experiment with various color pallets and shades.
This landscape depicts a stretch of the Canal St Martin near the Bassin de la Villette, in Paris. Houses and other buildings overlook the canal from both sides, while in the distance, beyond the lock and towards the center of the city, buildings loom up in the haze.
A keen breeze is stirring the water in the canal and keeping temperatures down, despite the sun being close to its zenith, while overhead, clouds are scudding across the blue sky.
The relative lack of leaves on the trees and also on the ground, suggests the scene is probably set in the early Spring, but that is open to speculation. Sisley captures the moment using a silvery palette of blues and greys, thickening the paint for the highlights on the water.
Bridge at Villeneuve-la-Garenne by Alfred Sisley: Recently built, state-of-the-art bridges, emblematic of modernity, appear in a number of Sisley’s paintings of the 1870s and early 1880s. This close-up, dramatically angled view depicts the cast-iron and stone suspension bridge that was constructed in 1844 to connect the village of Villeneuve-la-Garenne with the Paris suburb of Saint-Denis.
Sisley enlivened the scene by showing holidaymakers on the Seine and along the riverbank. Flat strokes of high-keyed color convey the fleeting effect of sunlight on the water.
The Flood at Port-Marly by Alfred Sisley: A masterpiece of Impressionism, the Rouen painting depicts a wine merchant's house, À St Nicolas, resting on the encroaching floodwaters of the Seine as if on a mirrored surface. The house is being used as a landing stage and a gangway has been improvised to connect it to the town. The building forms the last solid edge impinging on the waters: a fascinating subject for an artist bent on exploring light and reflections.
As always with Sisley, the composition is tightly structured with horizontal and vertical elements framing different parts of the landscape. The building's mass in the middle works with the flat area of water stretching from the foreground to the horizon to give an effect of the perspective of which the 17th century Dutch Masters would have been proud. Top 10 Most Famous Paintings by Wassily Kandinsky
Molesey Regatta is a rowing regatta that is held on the River Thames in England. The event attracts crews from rowing clubs based on rivers and canals from around the United Kingdom.
Racing takes place on the 850-meter downstream course that stretches from Platts Eyot. Sisley chose to paint the sky with a wide number of darker colors, the intricate details on this beautiful portrait is best justified by his artistic thinking and devotion to his paintings.
Alfred Sisley Paintings - British Artist - Impressionist Landscape Painter - Slideshow Collection [HD]
The Small Meadows in Spring by Alfred Sisley: Sisley moved from Sèvres to Veneux-Nadon, on the outskirts of Moret-sur-Loing, in 1880, and stayed for the next two years.
The painting depicts a view of a riverside path between Veneux and By. Sisley painted several other pictures at this time along this path or very close to it.
The Bridge at Moret by Alfred Sisley: This painting, which he completed in 1893 is exhibited in the Musee d’Orsay. Alfred Sisley died in Moret-sur-Loing at the age of 59, just a few months after the death of his wife.
Moret-sur-Loing is a small and charming historical town in the Seine-et-Marne department of north-central France and which was a source of inspiration for Monet, Renoir, and Sisley.
In 1880, there was a sudden change in Sisley's life and in his work. The painter abandoned Seine-et-Oise, where he had lived and worked since 1871, to move to Seine-et-Marne, where he was to live until his death in 1899. He settled finally in Moret-sur-Loing in September 1882, presumably attracted by the picturesque nature of this small town, and by its excellent location on the banks of the Loing.
During the last twenty years of his life, Sisley often painted along this river or on the banks of the Seine in the neighboring town of Saint-Mammès. It is here that the Loing and the Seine meet. Sisley also left numerous views of the canal which follows the course of the Loing for about fifty kilometers.
Here, the artist presents an original layout. He positioned himself at a point where the canal starts to curve round, where he could see the opposite bank through a screen of poplar trees with bare trunks.
The road disappearing into the distance is one of Sisley's favorite themes. It often links the foreground with the background, and helps "pierce" the space, resulting in some very successful perspective effects. Here, the illusion of three-dimensional space is particularly spectacular thanks to the road stretching into the distance, perpendicular to the surface of the painting.
The row of trees gives rhythm to the composition and accentuates the impression of depth, whilst an interplay of lines is achieved through the vertical trunks, echoed by the horizontal lines of the shadows. The slight rise in the road is used to create a vanishing point slightly off-center, and to obtain a plunging view over the sunlit background.
This structure allows the painter to organize the space in his landscape while maintaining the tiers of the different planes. Finally, as was often the case, Sisley humanizes his landscape by introducing a few small figures in the style of Johan Jongkind.
A bend in the road with tiny, rapidly drawn figures appears amid the lush, green trees on the left. To the right, the landscape opens out with a view of a vineyard on a distant hill. Rather than simply representing the specifics of a location, Alfred Sisley painted the glorious golden light of a summer's day, flickering in the trees and the long grasses.
He painted this Plein-air landscape study somewhere near the road on the way from Versailles to Saint-Germain. The painting's broken strokes of brilliant color and the impressionistic brushstrokes that serve as figures would have defined it as a rough sketch, but Sisley judged it complete and presented it as beautiful finished work.
Another painting by Sisley depicting winter weather, unlike Louveciennes however, this painting is sprouting with life, depicting the silhouettes of a number of individuals as well as trees in the background, he had moved to Marly in 1875. The winters of 1875-1876 were exceptionally cold, with temperatures below zero and frequent snow.
Sisley painted several snowy views of Marly and nearby Louveciennes. Unlike Auguste Renoir, who called snow "nature's leprosy", Sisley enjoyed painting snowy scenes.
Of all the landscapes Alfred Sisley painted in and around Marly-le-Roi, where he lived from 1875 to 1878, this scene of workers dredging and hauling sand to facilitate barge traffic is perhaps the most original.
Generally, the Impressionists showed the Seine River as a place of weekend leisure for Parisians, painting activities such as boating, yachting, promenading, and dining. Sisley depicted the river during the workweek, along with some of the men who depended on it for their livelihood.
While residing in Sèvres with his wife and children, Sisley painted this view of a curved pathway lined with chestnut trees in full bloom. The pathway follows a bend in the Seine, lending the viewer access across the pictorial space. The weather is pleasant, the sky a crisp pale blue, and the grass bending softly in the wind.
Unlike other Impressionists who returned to their studios in their later careers, Sisley remained outdoors, painting from his sketches rendered in the countryside.
During the 1880s he painted multiple views of the village of Saint-Mammès located at the confluence of the Seine and Loing rivers.
When he executed this work he lived in the neighboring village of Moret-sur-Loing. Writing to Monet in 1881 Sisley described the region: "It’s not a bad part of the world, rather a chocolate-box landscape. When I arrived there were many fine things to do, but they have worked on the canal, cut the trees, made quays, aligned the banks."
This painting was probably painted from a window of the Osborne Hotel overlooking the Bay. In a letter to his friend Adolph Tavernier, sent on the 18th of August 1897, soon after arrival at the hotel, Sisley wrote? I have been here for five days.
The countryside is totally different from Penarth, more hilly, and on a larger scale. The sea is magnificent and the subjects are interesting. But you have to fight hard against the wind, which reigns supreme here. I had not experienced this nuisance before, but I am getting used to coping with it and have already discovered the knack. I think I shall wait till the bad weather drives me away because there is plenty to do here.’
Alfred Sisley settled at Voisins, a village near Louveciennes in Seineet-Oise, in 1871. That is presumably where he painted this fog effect with a hint of a fence in the background, foliage on the left, a tree with twisted branches on the right beneath which a crouching woman seems to be picking flowers.
But more than a peasant woman in her garden, the protagonist of the painting is the silvery mist that blurs the shapes and the background into a bluish-grey tone. It is not the thick London fog that Sisley and Monet knew on the banks of the Thames, but a subtle harmony, a silent poem.
Alfred Sisley Paintings For Sale!
- The Seine at Argenteuil by Alfred Sisley
- Street in Moret by Alfred Sisley
- A Path in Louveciennes by Alfred Sisley
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