Van Gogh •
Artist Biographies
•
Alfred Sisley
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Alfred Sisley |
| Birth Year : |
1833 |
| Death Year : |
1899 |
| Country : |
United Kingdom |
Alfred Sisley, was an Englishman born in Paris, where his father ran an prosperous business. Sisley studied at the Académie
Gleyre in 1862 with
Monet and his friends. In the role of neutral English
mediator, he shared in the evening discussions at the Cafe Guerbois. After the 1863 Salon des Refusés, Sisley left
Paris with
Monet and the two lived and painted together in the still
rural suburbs. Sisley's earliest works showed the influence of the Barbizon School and, particularly in color tonalities
and technique, of Corot and Daubigny. By 1870, he had adopted the short rapid Impressionist brushstroke and like Monet
remained faithful to the technique throughout his career. Unlike
Monet,
however, he preserved distinctive forms that do not dissolve into the atmosphere, and he was more interested in capturing
the movement of foliage, the shimmer of water, and the texture of cloud-filled skies than in recording atmospheric changes
in light and the subsequent results. Primarily a landscapist, Sisley preferred the countryside around the Ile-de-France with
its unique and subtle beauty in all seasons. To this he brought a soft, muted palette with warm greens, blue-greens, pale
yellows, and clear blues predominating. His canvases have a unity of vision in composition that is heightened by a lyrical
sensitivity. That he could paint constantly in this manner is proof enough of his love of nature and of painting, for
Sisley suffered severe poverty after 1872 when his father's business failed. He began to sell his works very late, and
throughout his life he commanded lower prices than his friends. In 1876 Sisley moved to Moret-sur-Loing, a beautiful
little town that has changed little in nearly a century and that points with pride to the sites he immortalized in
paint and to the house in which he died.
US
"I can't work without a model. I won't say I turn my back on nature ruthlessly in order to turn a study into a picture, arranging the colors, enlarging and simplifying; but in the matter of form I am too afraid of departing from the possible and the true."