1839–1899 · Impressionism. Wikipedia
Alfred Sisley was a French-Born British Impressionist landscape painter who was born to British parents, but spent most of his life in France. He was the most consistent of the Impressionists in his dedication to painting landscape en plein air. He deviated into figure painting only rarely and, unlike Renoir and Pissarro, he found that Impressionism fulfilled his artistic needs.
The Bridge at Villeneuve-la-Garenne is an oil on canvas painting by Alfred Sisley created in 1872. It depicts a suspension bridge across the Seine looking toward the village of Villeneuve-la-Garenne. Holidaymakers can be seen on the river and along the riverbank. It is one of several paintings made by Sisley in the vicinity of the Île-Saint-Denis in 1872.
Avenue of Chestnut Trees at La Celle-Saint-Cloud (French: Allée de châtaigniers à La Celle-Saint-Cloud) or Edge of the Fontainebleau Forest (French: Lisière de la forêt de Fontainebleau) is an 1865 pre-Impressionist painting by Alfred Sisley, produced in the woods at La Celle-Saint-Cloud. It was refused by the Paris Salon of 1867 and bought by Jean-Baptiste Faure in 1877. It was acquired in 1919 by Joseph Duveen, who in 1921 gave it to the Petit Palais, where it still hangs.
The Seine at Port-Marly, Piles of Sand (French La Seine à Port-Marly, tas de sable) is an 1875 painting by Alfred Sisley. It was exhibited at the Exposition Universelle in 1900 whilst in the collection of Dr. Georges Viau, a Paris dentist and art collector. By 4 March 1907 it was owned by Durand-Ruel, who tried and failed to auction it on 4 March that year. It was bought by the galerie Bernheim-Jeune in April 1920 and later by Martin A. Ryerson. In 1933 Ryerson left it to its present owner, the Art Institute of Chicago, where it is now in section 201 (Impressionists) on the 1st floor of the Art Institute of Chicago.
Flooding at Port-Marly is the title of two series of paintings by Alfred Sisley, produced at Port-Marly in 1872 (seven works) and 1876 (four works). Two works from the 1876 series are now in the Musée d'Orsay, with one hanging in the museum itself and the other at the Musée des Beaux-Arts de Rouen. Other work from the 1876 series is exhibited in the Thyssen-Bornemisza Museum, Madrid.
The Seine at Bougival is an 1876 painting by Alfred Sisley, now in the Impressionist section of the Metropolitan Museum of Art, which acquired it in 1992 as a promised and partial gift of Mr and Mrs Douglas Dillon. It shows part of the Seine near Bougival.
View of the Canal Saint-Martin is an 1870 oil-on-canvas painting by Alfred Sisley, first exhibited at the Paris Salon of 1870. It was acquired by Gaudoin or Pierre-Firmin (both art dealers). It was then bought by Dr Paul Gachet for 170 francs before 1883. Gachet's son owned it from 1909 onwards and donated it to the Louvre in 1951. It is now in the Musée d'Orsay. This landscape depicts a large expanse of the Canal Saint-Martin in Paris. Warehouses and other buildings overlook the canal on both sides, with a number of moored boats at the quay. A pedestrian bridge across the canal can be seen in the distance.
The Banks of the Oise is an 1877–1878 painting by Alfred Sisley. Previously owned by three private galleries (the Bernheim-Jeune in Paris, the Dilenn in Brussels and finally the Galerie Jacques Dubourg in Paris) it was sold to Chester Dale on 9 June 1926. It is now owned by the National Gallery of Art in Washington, D.C., which acquired it with the rest of Dale's collection - it is now on display in section 88 (French Impressionist landscapes).
Regatta at Molesey near Hampton Court is an 1874 painting by Alfred Sisley, now in the Musée d'Orsay, to which it was allocated in 1986. The work shows the Molesey Regatta on the River Thames, begun by an amateur sportsman in 1873 and still in existence. The viewpoint looks upstream from Molesey Boat Club, with the recently constructed Island Hotel visible on Tagg's Island.
Under Hampton Court Bridge is an 1874 painting by Alfred Sisley, now in the Kunstmuseum Winterthur in Switzerland, to which it was given by Dr. Herbert and Charlotte Wolfer de Armas in 1973.
The Small Meadows in Spring, By (French Les Petits Prés au printemps, By) is an 1881 painting by Alfred Sisley, on loan from Tate Britain to the National Gallery since 1997. The location it shows is now paved, but was then a wooded path along the left bank of the Seine linking the villages of Veneux-les-Sablons and By, with Champagne-sur-Seine in the right background and a young girl just left of centre, probably the artist's twelve-year-old daughter Jeanne. The same path appears in mirror-image in his The Small Meadows at By, Stormy Weather.
View of Montmartre from Cité des Fleurs to Les Batignolles is an oil-on-canvas painting by Alfred Sisley, produced in spring 1869 and now in the Musée de Grenoble. It bears national museums reference France Inv. MG 1317. It was given to that museum in 1901 by the artist's friend and fellow painter Joseph-Auguste Rousselin, only two years after Sisley's death. It is one of the first Impressionist paintings to depict Montmartre, showing it as in very green surrounds. Despite being born in Paris, Sisley did not find it easy to produce views of the city, instead preferring industrial subjects such as View of the Canal Saint-Martin or depicting the city from a distance as in this work. He painted it from his apartment at 27 Cité des Fleurs, Batignolles, where he lived with his companion Marie-Adélaïde-Eugénie Lescouezec between 1867 and 1873 and where their children Pierre and Jeanne were born on 17 June 1867 and 29 January 1869. Richard Shone notes that even at this date Sisley's compositions showed more interest in the water and sky than in urban life and the buildings, meaning he was already effectively a landscape painter. MaryAnne Stevens contrasts the work with the stormy skies and dramatic mills in the depictions of Montmartre by Georges Michel and Constant Troyon.
Ferry to the Ile-de-la-Loge – Flood is a painting by Alfred Sisley. He produced it during a flood on the Seine, which had begun in late October and reached its peak on 17 December. The painting was finished in December 1872. It was bought for 200 francs by Durand-Ruel on 21 January 1873 and exhibited at the First Impressionist Exhibition in April 1874 as number 162 It was later owned by François Depeaux before forming part of the Depeaux sale at the Georges Petit gallery in Paris on 31 May 1906. It was acquired by the Carlsberg Foundation in 1914 and later that year it was exhibited at the Statens Museum for Kunst before being acquired later the same year by its present owner, the Ny Carlsberg Glyptotek in Copenhagen.