alfred sisley

alfred sisley 

He was born on October 30, 1839----January 29, 1899.

He was born in Paris, france.His parents were English. During his first trip to London, from 1857—1861; he discovered the work of the English land

Scape painter’s turner, constable, bonnington and the influence of England and English art remained strong throughout his career.The first exhibition, Sisley exhibited six landscapes (only five appeared in the catalogue) with little critical or financial success. His autumn: Banks of the seine near bougival(1873;montreal)was critized for being sketch-like and apparently unfinished,a common complaint leveled against other impressionist painters who adopted an uncomprising stance to painting out of older artists. In this work, Sisley's mature characteristics are evident: an emphasis on the sky to light the picture and create atmosphere and give an indication of time and weather conditions (with which Constable had been concerned). This was emphasized with a clear tonality coupled with judicious use of colour--the autumnal oranges are offset against the blue sky. The seemingly informal composition of the work is constructed with great feeling for space.

After the exhibition Sisley returned to England, this time under the patronage of the French baritone Jean-Baptiste Faure, from July to October 1874. In London he painted a series of canvases at Hampton Court which are remarkably fresh and spontaneous. Molesey Weir, Hampton Court (1874; Edinburgh) is compositionally daring with the posts of the weir creating a system of rigid verticals which holds the picture together and leads the viewer's eye into the picture space in no less a contrived way than Poussin might have done. Yet it appears relaxed and informal with thick white impasto, and the figures of the naked bathers are executed with great economy of means.

Sisley exhibited at the second and third Impressionists exhibitions but met with little critical acclaim until he received a mention in Georges Rivière's L'Impressioniste, which was sympathetic to the Impressionist cause. He wrote of Sisley's charming talent, his taste, subtlety, and tranquillity. It is in these terms that present-day reviewers regard Sisley. Unlike Monet or Renoir he did not confront urban life in his landscapes, and his view of nature was not shaped by anarchist politics like Pissarro's. Instead he painted a timeless yet unsentimental view of nature in which man, although present, is never the controlling force. And also so all you can know he died from throat cancer.