Sisley

Nathalia Brodskaya

Description

A painter of the Impressionist movement, Alfred Sisley was born on October 30th 1839 in Paris but was of British origin. He died on January 29th 1899 in Moret-sur-Loing. Growing up in a musical family, he chose to pursue painting rather than the field of business. In 1862 he enrolled in Gleyre’s studio where he encountered Renoir, Monet, and Bazille. The four friends left their master’s studio in March 1863 to work outdoors, setting their easels to paint the forest scenes of Fontainebleau. 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.

Sujets

• Landscape
• French
• English
• Art
• Idioma inglés
• Painter
• ENGLISH (programming language)
• Impressionism
• Sisley
• Anglais

Informations

• Publié par: Parkstone International
• Date de parution: 04 juillet 2023
• Nombre de lectures: 0
• EAN13: 9781781606353
• Langue: English

Extrait

Author: Nathalia Brodskaya

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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 , Mus é e 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 Soci é t é 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 Pissarro, depicting a ploughed field, for shavings from an artist ’ s palette carelessly deposited onto a soiled canvas. When looking at the painting he is unable to tell top from bottom, or one side from the other. He is horrified by Monet ’ s landscape entitled Boulevard des Capucines . Indeed, in Leroy ’ s satire, it is Monet ’ s work that pushes the academician over the edge. Stopping in front of one of the Le Havre landscapes, he asks what Impression: Sunrise depicts. “ Impression, of course, ” mutters the academician. “ I said so myself , too, because I am so impressed, there must be some impression in here … and what freedom, what technical ease! ” At which point he begins to dance a jig in front of the paintings, exclaiming: “ Hey! Ho! I ’ m a walking impression, I ’ m an avenging palette knife ” ( Charivari , 25 April 1874). Leroy called his article, “ The Exhibition of the Impressionists. ” With typical French finesse, he had adroitly coined a new word from the painting ’ s title, a word so fitting that it was destined to remain forever in the vocabulary of the history of art.
Responding to questions from a journalist in 1880, Monet said: “ I ’ m the one who came up with the word, or who at least, through a painting that I had exhibited, provided some reporter from Le Figaro the opportunity to write that scathing article. It was a big hit, as you know. ” ( Lionello Venturi , Les Archives de l ’ impressionnisme , Paris, Durand- Ruel , 1939, vol. 2, p. 340).
2. Village Street in Marlotte near Fontainebleau , 1866.
Oil on canvas, 50 x 92 cm,
Albright-Knox Art Gallery, Buffalo.
3. The Ferry of the Ile de la Loge - Flood , 1872.
Oil on canvas, 45 x 60 cm,
Ny Carlsberg Glyptotek , Copenhagen.
4. The Bridge at Villeneuve-la- Garenne , 1872.
Oil on canvas, 49.5 x 65.5 cm,
The Metropolitan Museum, New York.
5. Ile Saint-Denis , 1872.
Oil on canvas, 50 x 65 cm,
Musée d’Orsay, Paris.
The Impressionists and Academic Painting

The young men who would become the Impressionists formed a group in the early 1860s. Claude Monet, son of a Le Havre shopkeeper, Fr é d é ric Bazille , son of a wealthy Montpellier family, Alfred Sisley, son of an English family living in France, and Auguste Renoir, son of a Parisian tailor, had all come to study painting in the independent studio of Charles Gleyre , who in their view was the only teacher who truly personified neo-classical painting.
Gleyre had just turned sixty when he met the future Impressionists. Born in Switzerland on the shores of Lake L é man , he had lived in France since childhood. After graduating from the É cole des Beaux-Arts, Gleyre spent six years in Italy. Success in the Paris Salon made him famous and he taught in the studio established by the celebrated Salon painter, Hippolyte Delaroche. Taking themes from the Bible and antique mythology, Gleyre painted large-scale canvases composed with classical clarity. The formal qualities of his female nudes can only be compared to the work of the great Dominique Ingres. In Gleyre ’ s independent studio, pupils received traditional training in neo-classical painting, but were free from the official requirements of the É cole des Beaux-Arts.
Our best source of information regarding the future Impressionists ’ studies with Gleyre is none other than Renoir himself, in conversation with his son, the renowned film-maker Jean Renoir. The elder Renoir described his teacher as a “ powerful Swiss, bearded and near-sighted ” and remembered Gleyre ’ s Latin Quarter studio, on the left bank of the Seine, as “ a big empty room packed with young men bent over their easels. Grey light spilled onto the model from a picture window facing north, according to the rules. ” (Jean Renoir, Pierre- Auguste Renoir, mon p è re , Paris, Gallimard , 1981, p. 114). Gleyre ’ s students could hardly be less alike. Young men from wealthy families who were playing at being artists came to the studio wearing jackets and black velvet berets. Monet derisively called these students “ the grocers ” on account of their narrow minds. The white house painter ’ s coat that Renoir worked in was the butt of their jokes. But Renoir and his new friends paid them no heed. “ He was there to learn how to draw figures, ” his son recalls. “ As he covered his paper with strokes of charcoal, he was soon completely engrossed in the shape of a calf or the curve of a hand. ” (J. Renoir, op. cit., p. 114). Renoir and his friends took art school seriously, to such an extent that Gleyre was disconcerted by the extraordinary facility with which Renoir worked. Renoir mimicked his teacher ’ s criticisms in a funny Swiss accent that the students used to make fun of him: “ Cheune homme , fous ê des dr è s atroit , dr è s tou é , mais on tirait que fous beignez bour fous amuser . ” (Young man, you are very talented and very gifted, but people say that you paint just for fun). As Jean Renoir tells it: “ Obviously, ” my father replied, “ if it wasn ’ t any fun, I wouldn ’ t paint! ” (J. Renoir, op. cit., p. 119)