1878, Sisley had such an impression that the audience began to appreciate his paintings, so he decided to leave the impressionist exhibition and send his paintings to the salon like Renoir. Unexpectedly, he was rejected. So he felt more lonely than ever; At the same time, he also became penniless. During 1880- 1883, fortunately, Durrant-Ruhr bought his paintings. Durrant-Ruhr held his first solo exhibition for Sisley in 1883, and his material situation finally improved. But even so, his success is less than that of his colleagues. Durrant-Ruhr bought fewer and fewer of his paintings, and he fell into the predicament of life again, and Sisley struggled against it. He is anxious, sometimes even to the point of complete despair. But Sisley denied that he had failed. He tried from all sides, but all his painting skills were not enough to cover up his lack of inner spirit. Although his colors are getting louder and louder, and his modeling has gained a sense of substance, it always makes people feel that he has returned to the original realistic old road after many experiments. In other words, he has focused on depicting the material essence of things. As a result, his poems disappeared completely. For example, the painting "Murray Bridge" shows this point: the impressionist brushwork and the reflection in the water can't cover up the noisy colors and the photographic effect of the characters in this painting, and the whole depiction has completely lost its artistic charm because of the pursuit of texture.
Sisley's later works can't reach the creative height of 1872 to 1876. Someone commented on Sisley: "He is very tired. His brush strokes softened and his sketches became weak. Some of the oil paintings he is showing now are just faint echoes of the wonderful, novel and moving paintings that flashed in front of my eyes and produced in my excited memories of the past. " And Sisley has his own aesthetic view, which is just the only condition for us to know Sisley's point of view. We will now quote the main arguments as follows:
The plot and theme must be easy to understand, so that the audience can easily understand.
Deleting redundant details can let the viewer follow the direction pointed out by the painter and let him find what the author yearns for first.
There must always be a favorite place in every oil painting.
This is one of the charms of Connor and Joan Kan's oil paintings.
Besides the theme itself, the most striking aspect of landscape painting is the sense of movement and life.
However, showing the meaning of life is one of the most difficult tasks. Injecting life into one's works of art is undoubtedly the inevitable goal of every artist worthy of this title, and everything (modeling, color, picture structure) should contribute to this goal. However, only the spiritual excitement of its creator can inject this sense of life into painting, and it is this excitement that will impress the viewer.
Although landscape painters should always pay attention to their own skills, they must make the surface structure more unrestrained in some occasions, so as to convey the excitement felt by the painter to the audience.
You can see that I advocate using different surface structures on the same painting. Although this is not a recognized view, I think my thinking is correct, especially in expressing the effect of light. Because sunlight always weakens some parts of the landscape and highlights others at the same time, it almost shows the light effect in nature materially, and it should also be shown materially on the canvas.
The description of an objective object should conform to its organizational structure, especially be surrounded by light as in reality. It must be done hard.
The sky plays a great role here. It can't be an ordinary background. On the contrary, the sky can not only help to create a sense of depth at different levels (because the sky is also hierarchical like the ground), but also give the picture a sense of movement with its own shape and structure according to the overall effect or composition of the picture.
The brightest and most exciting sky is what we usually see in summer-I mean the blue sky with white clouds fluttering everywhere. It is full of vitality and change! Isn't it? It makes our hearts churn like waves and fascinates us. But there is another kind of sky, which we can see later, and that is the evening sky. Its clouds drag along, sometimes like water marks left by the stern of a voyage; They seem to be frozen in the atmosphere. But then they also gradually disappeared, and went out with the sunset. This kind of sky is very gentle and desolate; Full of the charm of something that is about to leave in the distance. I especially like the sky like this. But I'm not going to tell you all kinds of skies that painters cherish very much; I'm just saying my favorite.
I pay attention to the sky in landscape painting because I hope you can fully understand my concern for it. ...
Which painters do I like? If we only talk about modern people, it is our mentors Delacroix, Koro, Miller, Rosso and Courbet; In short, they are all painters who love nature and are good at observing nature.
It can be seen that feeling plays a great role in Sisley's art; Although he loves the sky, he still understands the necessity of artistic autonomy. The reason why he voluntarily gave up the unity of styles in the same painting is to better express different natural phenomena in the painting. Perhaps because he was not so revolutionary, Sisley didn't get the attention and evaluation he deserved. Alfred Sisley (Paris,
1839- Molai on Rouan River, 1899)
Murray Bridge, 1893
Oil painting 65×73cm
Signature and date of the author in the lower left corner: Sisley, 93 years old.
In the name of Dr. Ai Du Eduardo Morade, it was bequeathed by Enriqueta Aslo,1972; Musee d 'Orsay, Paris.
In the long years, often due to economic reasons, Sisley and his family were forced to live a life of no fixed abode in the towns around Paris. 1In September, 882, the painter moved again with his wife and children and came to Murray on the Luanhe River. Although this is not the last time they moved, he thinks it is an ideal place. Although the painter left several times later (for example, 1886, he moved to a small village near Weiner-Naden), he finally returned to live there. 1899 65438+1October 29th, he died there. Running back and forth, finally settled in Murray on the Rouen River, which had a great influence on his creation. Sisley often finds creative themes a few steps away from his residence. Several of his famous paintings have been exhibited in art exhibitions many times, and all of them were painted on a whim. These include the Salon Art Exhibition in Paris and various art exhibitions held in France, Britain and the United States. One of the most famous themes is the Murray Church on the Luanhe River. In the year of 1893 alone, he took this church as the object for six times, created it with different compositions and according to different climatic conditions, drew this ordinary building with the help of light and color, and outlined the walls and sculptures on it with keen brushstrokes. He's not like Claude? Monet described Murray's teaching as systematically as he described Rouen Cathedral, but his works often used a certain length to describe the life around him while expressing the architectural form (Murray's church, gloomy sky, 1893, National Art Museum of Bucharest, Romania).
Another theme that has been used many times is the bridge across the Luanhe River at the entrance of the village. Even before Sisley came to settle in Murray, Luanhe River, he had painted the bridge several times. When creating this painting in the collection of the Ossetian Museum, the painter supported the easel on the other side of the city and stood on the right, slightly below the bridge. In this way, he can clearly see the six bridge opening from the lower left corner, as well as the overlapping roofs and commanding church spires on the other side of the bridge. Outside the center of the picture, that is, at the entrance of the village, stands a brightly lit mill, blocking the end of the bridge, so that the diagonal line on the picture is replaced by a plane parallel to the picture, which extends to the right to four big trees side by side. Compact structure and extremely rich colors make this immortal work immortal. The red roof, lush trees, blue sky and sparkling waves make people forget the possible boredom. In the rigorous composition, a covered carriage and several figures standing idle by the roadside or river add some vitality to the picture. 1923, Gustav? Geffroy published an article about the painter Sisley in People Today magazine. When describing this painting, just as the strokes used to outline the portrait of this quiet moment are clear and definite, he also introduced the painting poetically with short sentences and clear words: "He painted Murray Bridge in the morning after the rain. The air is fresh, the outlines of houses and trees are clearly visible, and there is no refraction of morning fog and sunlight. The bridge opening of Murray Bridge in the plain is distributed on both sides of the mill, followed by houses with sloping roofs, low and humble farmhouses, dense forests and four tall poplars. Reed hung low on the water. There is a milky halo floating in the quiet sky, and there is no wind. Green pastures, lavender bridges and houses complement each other and are closer to rose than blue. The Luanhe River is crystal clear, the water surface is smooth and open, and there is no wrinkle. Stones and vegetation on the shore, clouds in the sky and reeds by the water are all reflected in the water. Rivers are as deep and unpredictable as the sky, as rich in shape and colorful as the surrounding scenery. " Alfred Sisley (1839, Paris-1899, Mali-Rouen)
Rufuschen's garden path, 1873.
Oil painting 54×73cm
The bottom sign is on the left, dated 73-year-old Sisley.
Presented by Ioanni Berthaire, collected by Orsay Museum, 1986.
1870, Sisley, his wife and two children (his second child, first daughter Yana Adele, was born in1869,65438+29 10) lived in the village of Bougival near Paris. They watched helplessly as their house and all the paintings in it were destroyed by the Prussian army that attacked Paris. Sisley fled her destroyed home and took refuge in Paris, where she stayed for a whole year 187 1 year. At the end of this year, his wife gave birth to his third child, the second son Jacques, but he died soon. The next year, he left Paris many times to look for Monet. In order to paint, he temporarily lived in two small towns on the edge of Paris, Argenteuil and Villeneuve Lagarenne. Paul Du Lang-Lehrer, an art dealer, bought several Sisley paintings and invited him to exhibit them in London galleries. But this income is not enough to maintain the life of the whole family in Paris. Therefore, this autumn, their family moved to Fawazan town near Rufushen. This town is famous for the place where Louis XIV once lived, and his residence was destroyed in the Great Revolution. At that time, Sisley was prolific in art, and even the winter flood in this area inspired his creation, which gave him the opportunity to draw the first batch of paintings with the theme of flood, such as The Flood of the Ferry on La Jorge Island (1872, collected by the Royal Museum of Copenhagen). Later, he created paintings with the same theme in 1876, such as The Flood in Port Mali (1876, collected by Carmen Thyssen-Bonimiza Museum in Madrid). 1872' s salon jury is as strict as 187 1. Sisley's works were rejected by Paris, while Du Lang Rouire continued to show his works in British art exhibitions.
At that time, his main creative object was the Rufushen village not far from his residence. He painted various aspects of the village with many pictures. His paintings are geometrically rigorous, vividly depicting several commemorative items left by Louis XIV (Marley's Machine 1873, collected by the Royal Museum of Art in Copenhagen) and the people's life in this village now. After experiencing the glory of two centuries ago, the village has restored the tranquility of the country. These works won him positive comments from the press for the first time. Ernest Scheno commented on the above-mentioned "Marley's machine" in1Paris Daily on April 2, 874: "I have never seen such a perfect and immersive painting showing the' open-air' scene."
It's no exaggeration to comment on the landscape paintings in Confucianism, Buddhism and Taoism with the same praise. This painting depicts the garden path of this village. This road goes downhill from Fawazan town, leading directly to the Seine River and Mali and Bougival villages favored by modern landscape painters. On the right side of the painting is the wall of the old castle that no longer exists, next to which is the artist's easel. On the left is a fence that separates a row of small houses from the path. The road is beautifully built, people walk along the sidewalk, and a row of neatly trimmed trees form a straight line, pointing to the hazy horizon. Hazy mixed with light blue and purple, in the middle is the milky white of the distant house. From the color of the tree on the right or the pruning method of the tree on the left, from the long black scarf worn by the woman on the left, and from the large shadows cast on the road, we can clearly see the traces of time and weather: winter is coming, and the sun is low, casting a blue-purple and almost metallic shadow, which is in harmony with the golden color of the light-receiving part. The clear, light blue sky, mixed with lavender, is painted with little pigment and quick brushwork, which makes people feel the cold in the winter scene more and more. This painting is one year earlier than the first impressionist exhibition, but it shows all aspects of impressionist painting modeling and techniques, which puzzles critics and audiences. This delicate and powerful brushwork, which runs counter to the painting techniques advocated by the Academy of Fine Arts and its followers, is particularly vivid in this painting. Author: Sisley introduced "Sisley" in detail.
Material: canvas oil painting
Size of painting center: 40.0×29.0cm
The Flood in Port Mali is one of the most famous works of the painter with the theme of Port Mali. He described the unusual event that the port of Mali was flooded with meticulous paintings. Obviously, the painter is not going to report the flood. The sky is full of colorful clouds, and the scene of water and light reflecting each other is as poetic as "Venice Water Town". Painter pissarro spoke highly of this painting: "As far as I have seen in my life, few works painted by other painters are as rich and beautiful as it is. It is a masterpiece of oil painting. "