Born: October 30, 1839 - Paris, France
Died: January 1899 - Moret-sur-Loing, France
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"And though the artist must remain the master of his craft, the surface, at times raised to the highest pitch of liveliness, should transmit to the beholder the sensation which possessed the artist."
Summary of Alfred Sisley
Alfred Sisley is one of Impressionism's most unjustly overlooked artists. This may perhaps be due to the fact that Sisley straddled two different cultures, having been born to English parents in France and later dividing his time between the two countries. As such, though he worked as one of the key figures in French Impressionism, he remained something of an outsider. Unlike many of his peers, who examined urban life, industrialization, and people, Sisley was almost exclusively a painter of landscapes, a subject from which he rarely strayed. What's more, there is a moodiness and distinct colorism in his works that suggest an influence from earlier periods of English and French art, especially the Barbizon school. As such, Sisley created his own unique brand of Impressionism that foreshadowed many of the new painting styles that would emerge in Europe after the turn of the 20th century.
Key Ideas
Alfred Sisley was born in Paris, the son of affluent British expatriates. His mother, Felicia Sell, was a music connoisseur, and his father, William Sisley, owned a lucrative business exporting artificial flowers and silk. Felicia and William were cousins, descended from a long line of English smugglers and tradesmen. Alfred was one of four children, one of whom - the eldest brother - died at a young age. Unfortunately, little is known about Alfred's adolescence before he was sent to London in 1857 to study for a career in commerce. While in London, Sisley is said to have spent much of his time visiting the exhibitions of John Constable and J.M.W. Turner at the National Gallery.
Important Art by Alfred Sisley | |
  | Avenue of Chestnut Trees Near La Celle-Saint-Cloud (1867)Artwork description & Analysis: This monumental landscape was exhibited at the Salon of 1868. Avenue of Chestnut Trees Near La Celle-Saint-Cloud illustrates a hunting trail leading through a heavily shaded forest close to the village of La Celle. Sisley painted this subject two times before, in 1865. This painting's subject matter and intense color are reminiscent of the Barbizon school. In fact, the painting has been compared to Hobbema, Rousseau, Corot and Daubigny. Avenue of Chestnut Trees Near La Celle-Saint-Cloud is an example of Sisley's early work, which is known for the use of soft brushstrokes. His ability to represent the intense colors of the forest is achieved through the layering of green and gray tones. The deer standing to the right of the path may suggest a royal subject. Oil on canvas - Southampton City Art Gallery |
 | Footbridge at Argenteuil (1872)Artwork description & Analysis: Footbridge at Argenteuil (1872) is a landscape painting that captures modern life at the end of the 19th century. The subject matter is not typical of Sisley's oeuvre, yet the painting is stylistically representative of his work. Footbridge at Argenteuil is inspired by contemporary Japanese prints, in which, as here, the picture plane is the main focus of the composition. This is evident in the bridge, which dominates the canvas and flattens out the composition through the use of diagonal lines which evoke sharp, fast movement and thereby mimic the speed of modern day life. Additionally, the foreground is pushed forward and the canvas is cropped, which creates a similar sense of spontaneity of a photograph. The harmonious balance of muted dark and light colors allows the eye to move quickly across the canvas, giving the illusion of movement. Oil on canvas - Musée d'Orsay |
 | The Bridge at Villeneuve-la-Garenne (1872)Artwork description & Analysis: The Bridge at Villeneuve-la-Garenne (1872) represents an Impressionist landscape along the Riverbank of the Seine. This painting is emblematic of Alfred Sisley's oeuvre, concentrating on the artist's perception of the natural world. The application of quick, feathery brushstrokes captures the ephemeral effects of light on a surface. This can be seen with the subtle nuances of color on the river that reflect the sky, clouds, and grassy knoll. The perspective from which the artist chose to paint the bridge gives a sense of the structure's monumental scale. Additionally, Sisley included figures to provide a sense of scale to convey the bridge's size. Oil on canvas - Metropolitan Museum of Art |
More Alfred Sisley Artwork and Analysis:
Influences and Connections
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Influences on Artist
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Content compiled and written by Sheryl Siclari-Ostyn
Edited and revised, with Synopsis and Key Ideas added by Ellen Hurst
" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Sheryl Siclari-Ostyn
Edited and revised, with Synopsis and Key Ideas added by Ellen Hurst
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First published on 27 May 2016. Updated and modified regularly. 
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