- Alfred SisleyOur PickBy Raymond Cognait
- Alfred Sisley: The English ImpressionistBy Vivienne Couldrey
- Monet, Sisley, PissarroBy Pierre Francastel
Important Art by Alfred Sisley
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.
Napoleon III owned this royal hunting ground, which led Scott Schaeffer to believe that this is why the Salon Jury of 1868 accepted the painting. Moreover, Schaeffer states that Sisley's intention may have shown contempt for a royal subject through its representation in a landscape painting, which was considered an "inferior" genre. While Sisley's later work does seem to represent the sobering affects of modernity on nature, it is unknown if Sisley took a political stance in this work. Avenue of Chestnut Trees Near La Celle-Saint-Cloud may have been Sisley's examination of new subject matter, as he worked outside of the confines of the Academy, pioneering the Impressionist movement.
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.
Footbridge at Argenteuil is similar to Gustave Caillebotte's Pont de l'Europe, 1876. Although it is unknown if Caillebotte was aware of Sisley's painting, the two artists chose similar subject matter and viewpoints to depict the landscape. The two works differ in the way the artists chose to capture contemporary life. Caillebotte's painting focuses on the figures, celebrating modernity through the fashion of the period. In comparison, Sisley's painting focuses on the architecture, only showing a vague interest in the people strolling along the bridge. Sisley celebrates modernity, but through the detailed innovative materials of the bridge.
Although there is a lack of obvious narrative, this painting is particularly informative about the context of the time. Footbridge at Argenteuil depicts the newly emerging middle class vacationing in the suburbs outside of Paris. This new access to leisure became more common with the development of industry and the newly constructed railroad along the Seine River. Impressionist artists began capturing this new subject matter, creating genres that were distinct from the limitations of the Academy.
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.
While the Bridge at Villeneuve-la-Garenne is a study of nature, it also illustrates France's desire to be politically and industrially progressive following the loss of the Franco-Prussian war. The bridge was reconstructed after the war and represents the restoration of France at the end of the 19th century. The Bridge at Villeneuve-la-Garenne then represents the rhetoric of hope of regeneration.
This painting was one of three works that Durand-Ruel purchased from Sisley. It was included in an album of three hundred of his most beautiful prints. The album was created with the intention to publish; yet this project was never realized.