Sisley completed a number of paintings featuring the village and just to the left of the previous painting, but out of view, is the bridge which crosses the river at Villeneuve-La-Garenne and this was the subject of Sisley’s 1872 painting, The Bridge at Villeneuve-la-Garenne. The Bridge at Villeneuve-la-Garenne by Alfred Sisley (1872) In this work Sisley has managed to encapsulate the beauty of nature. The two trees in the foreground act as if they were theatre curtains on either side of a stage. After visiting the small village, Sisley was inspired by what he saw and was determined to produce a work so that he could share the beauty of the place. In 1872 Alfred Sisley created his painting depicting the small village entitled Village by the Seine (Villeneuve-La-Garenne). The Villeneuve-la-Garenne painting depicts the village on the River Seine, a commune in the northern suburbs of Paris, which lies less than ten kilometres from centre of the French capital. Village by the Seine (Villeneuve-La-Garenne) by Alfred Sisley (1874) He gave the painting to the museum in 1909, just over 100 years after the Musée des Beaux-Arts de Rouen was built.Ĭommemorative postage stamp issued by Republic of Guinea on October 1st 2009 depicted Sisley’s painting Place du Chenil à Marly, effet de neige. It was given to Musée des Beaux-Arts de Rouen by François Depeaux, a French art collector, industrialist and patron. Place du Chenil in Marly, Snow Effect is now located in Musée des Beaux-Arts de Rouen which is an art museum in Normandy, France. There is nothing spectacular about the scene but it is just a timeless realistic rendition. It is not just coloured white but a subtle blending of blues, greens, creams and greys. Look at how Sisley has depicted the snow. We see that a heavy snowfall has occurred and the town has been covered by a thick blanket of snow. There is an eerie stillness about the depiction of the town’s main square which since Sisley’s time has been renamed Place du Général-de-Gaulle. I particularly like Sisley’s 1876 painting entitled Place du Chenil at Marly, and the depiction of snow. The two following winters were especially harsh with temperatures below zero and frequent heavy snowfall. Two years later, in October 1874, after his four-month summer holiday spent in London, Sisley and his family moved to 2 avenue de l’Abreuvoir in Marly-le-Roi, a commune in the Île-de-France region, in north-central France, located in the western suburbs of Paris, 18 kilometres from the centre of the French capital. Place du Chenil à Marly, effet de neige by Alfred Sisley (1876) It is thought that Sisley’s depiction may have been influenced by Meindert Hobbema’s 1689 landscape painting, The Avenue at Middleharnis, which he would have seen at the National Gallery when he visited London. The Avenue at Middleharnis Meindert Hobbema (1689} He used this technique in many of his works as it allowed him to give movement to his depiction while also giving a feeling of space. It is a classic example of a perspective road which we see narrowing into the distance. Louveciennes: View of the Sèvrees Road by Alfred Sisley (1873)Īnother of Sisley’s works featuring Louveciennes is his 1873 painting entitled Louveciennes: View of the Sèvres Road. In his painting Louveciennes, above Marly, Sisley has depicted the view from Louveciennes, down over the forest and the riverside town of Marly. It is said that during the summer of 1871, Sisley, Renoir and Pissarro had watched Paris burn during the Prussian siege of the capital city. To manage his financial difficulties and to avoid the Prussian War, Sisley gave up his home in Paris and moved to the countryside and the town of Louveciennes, a village west of Paris. Louveciennes, above Marly by Alfred Sisley (1873) Sisley had relied heavily on his father’s financial support because of the low prices being offered for his artwork, and this revenue stream had come to an end. In 1870, the Franco-Prussian War began and this precipitated the failure of Sisley’s father’s silk business which ended in his father’s bankruptcy and the financial devastation hastened his death. Although they remained together until Eugenie’s death in 1898, they didn’t marry until August 5, 1897. In 1866, Sisley began a relationship with Eugenie Lesouezec and shortly thereafter the couple had two children: a son, Pierre, in 1867 and daughter, Jeanne in 1869. In what many would dismiss as unprepossessing patches of gardens or meadows, landscapes on the outskirts of towns or along river banks, Sisley could often discover the most arresting colour or light effects. He concentrated on views of village streets, or of interesting groups of buildings, he would be drawn to an old stone bridge, the kind of subject that had fascinated painters since Corot. Sisley went tirelessly in search of motifs along the Seine and its tributaries, he looked no further. The villages of the Seine and its tributaries
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