Sisley, Alfred
Sisley, Alfred
Sisley,
Alfred (b. Oct. 30, 1839, Paris, Fr.--d. Jan. 29, 1899, Moret-sur-Loing),
painter who was one of the creators of French Impressionism.
Sisley
was born in Paris of English parents. After his schooldays, his father, a
merchant trading with the southern states of America, sent him to London for a
business career, but finding this unpalatable, Sisley returned to Paris in 1862
with the aim of becoming an artist. His family gave him every support, sending
him to Gleyre's studio, where he met Renoir, Monet and Bazille. He spent some
time painting in Fontainebleau, at Chailly with Monet, Bazille and Renoir, and
later at Marlotte with Renoir. His style at this time was deeply influenced by
Courbet and Daubigny, and when he first exhibited at the Salon in 1867 it was
as the pupuil of Corot.
By
this time, however, he had started to frequent the Café Guerbois, and
was becoming more deeply influenced by the notions which were creating
Impressionism. During the Franco-Prussian war and the period of the Commune, he
spent some time in London and was introduced to Durand-Ruel by Pissarro,
becoming part of that dealer's stable. In the mean time, his father had lost
all his money as a result of the war, and Sisley, with a family to support, was
reduced to a state of penury, in which he was to stay until virtually the end
of his life.
He
now saw himself as a full-time professional painter and part of the
Impressionist group, exhibiting with them in 1874, 1876, 1877 and 1882. His
work had by this time achieved complete independance from the early influences
that had affected him. In the 1870s he produced a remarkable series of
landscapes of Argenteuil, where he was living, one of which, The Bridge
at Argenteuil (1872; Brooks Memorial Gallery, Memphis, USA) was bought
by Manet. Towards the end of the decade Monet was beginning to have a
considerable influence on him, and a series of landscape paintings of the area
around Paris, including Marly, Bougival and Louveciennes (1876; Floods at
Port-Marly, Musée d'Orsay), shows the way in which his dominent
and evident lyricism still respects the demands of the subject-matter. From his
early admiration for Corot he retained a passionate interest in the sky, which
nearly always dominates his paintings, and also in the effects of snow, the two
interests often combining to create a strangely dramatic effect (1880; Snow
at Véneux; Musée d'Orsay). Naturally different, he did not
promote himself in the way that some of his fellow Impressionists did, and it
was only towards the end of his life, when he was dying of cancer of the
throat, that he received something approaching the recognition he deserved.
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