Alfred Sealy (1839- 1899), a world-famous painter, was born in Paris and died in Moray. Together with Monet, he is the true representative of pure impressionism. The main representatives are Morey's Boat Race, San Mardin Canal, The Flood in Port Mar, Autumn, etc.

Chinese name: Alfred Sisley.

Mbh: Alfred Healy

Place of birth: Paris

Date of birth: 1839

Date of death: 1899

Occupation: painter

Main achievements: the true representative of pure impressionism

Representative works: The Garden Road of Rufu God, etc.

Character experience

Alfred Sisley (1839- 1899) was born in Paris and died in Mali. Together with Monet, he is the true representative of pure impressionism. But his parents are British, and Sisley's father is very successful in business, so Sisley grew up in a superior family environment. Sisley spent her childhood in Paris. /kloc-When he was 0/8 years old, Ashley followed his father's expectation and went to London to study business for four years. After she returned, she worked in a company. But he likes studying literature and painting. He studied Shakespeare, Turner and constable.

Sisley is widely known as a typical impressionist painter. He paints almost only landscapes, and he is deeply interested in the influence of light and weather on the sky, rivers, canals, Yuan Ye and the busy villages in the pastoral areas of northern France where he lives. From rainy national holidays (14 July) and hot summer, to snow-covered villages and rivers frozen three feet, from the trickle of spring to the choppy floods, he always carefully and patiently describes the subtle changes of the four seasons in wireless in front of various themes. Although Sisley was at the core of the impressionist movement, perhaps because of his cautious personality, his friends Monet, Renoir and other painters kept a certain distance from him. As an Englishman, Sisley tried several times to acquire French nationality, but failed. Although Sisley was born in a wealthy merchant family, he spent most of his life in poverty. Sisley is different from other impressionist painters. He was neither successful nor widely recognized by society. His lonely old age was almost like a hermit.

From 65438 to 0862, Sisley entered glaire Studio to study painting, and met French impressionist painters claude monet, Bazi and Auguste Renoir. Four like-minded young painters often go to the Fontainebleau forest on the outskirts of Paris to sketch outdoors. For Sisley, moving the easel from indoor to outdoor is not only a brand-new attempt, but also allows him to find another world of creation.

If you don't count his early works, then his portraits and still life paintings are less than any painter. He almost only paints landscapes, and his works have not changed profoundly in his life. People say that his works, especially those that he first participated in 1866 salon, have the style of painting by Koro and Courbet, which really shows his favorite direction. Compared with other impressionist friends, he is lucky. At first, he was not as financially difficult as they were. However, just when he had to fight for the new painting, he went bankrupt. At this time, compared with his friends, he suffered a lot. Pissarro and Cezanne can get at least 40 francs for each painting on the worst days, but he sold his works for 30 or 25 francs more than once. In addition, Sisley died before he could enjoy the victory of thought and art. In fact, as soon as he died, people recognized his genius, and his works were quickly marked with high prices.

Sisley's paintings are almost all landscape paintings, and in landscape paintings, he mainly shows the Seine River valley, the Paris region, especially the Fontainebleau region, where he is one of the real painters. He can express the whispering of leaves and the shining of water waves as keenly as Monet, which is admirable. At the same time, he is better at preserving the structure of the landscape than Monet, not just turning it into a reflection of changing colors and light. In his paintings, the form is very strict and is not melted by the atmosphere. Trees are trees, and houses are houses. His art is not systematic, nor does it adopt a low-vision approach like pudding. If he gives the sky a big place in some paintings, then the sky will be integrated with the theme expressed by the painter through its movement. Every one of his paintings makes people feel perfect. People can't think of a more dense grove than his Fontainebleau forest, a worse waterscape than his Flood in Mali, a sadder snow scene than Lufthansian, and a brighter spring than Saint Mamet. He doesn't want any strong and rude effect. This wonderful and gentle art shows the peaceful and quiet life of the painter in Molai City, which settled after 1879, and has infinite poetry.

Although he had a similar fate to other impressionist painters, he went to Greer's studio like Basil, Monet and Renoir when he was young. In the long and difficult years, he also got a little generous help from a collector named baker Millie. However, people don't write much about his works and life, not because he lacks talent, but because despite his bad luck, his life is full of thrilling adventures. Because his art is completely subordinate to his feelings, he doesn't want to show any rapidly established system, so he is not going to give a long speech. Several stays in England, the desire to be accepted by Sharon, and the poor life did not shake Sisley's faith, nor did he change his painting style. Although he has no ambition, he abides by his beliefs and is always loyal to himself and his friends. Most of Sisley's 800 oil paintings are landscape paintings, and his love for nature and simple feelings are fully revealed in his creation. Pissarro once said that Sisley was the purest impressionist painter because he insisted on his original painting idea-capturing the true impression of natural scenery through the expression of light and color.

Sisley is the only impressionist painter who only paints landscapes. There is a comment that his landscape paintings are the most beautiful paintings of impressionism. In this painting, people can feel the author's anxiety about the flood, and the leaden sky seems to be gestating another rainstorm. Sisley made several paintings on the theme of the flood in Port Mali, and each painting depicts the changes of light in different periods.

Alfred Sisley (1839- 1899)

1839 was born in Paris, but his parents were British. Sisley spent her childhood in Paris.

1857 eighteen-year-old Sisley followed his father's expectation and went to London to study business for four years. After he returned, he worked in a company.

1862 Sisley, who likes studying literature and painting, returned to Paris to study in Gray's studio, where he met Monet, Bazi and Auguste Renoir.

1863, Sisley, Monet, Renoir and Bazyi went to Sheyi village near Fontainebleau.

1866 and Renoir live in Marlowe. He also attended the salon in 1866, when Sisley's works included Jean-batiste Camille Corot (1796- 1875) and Gustav Courbet (1819-1875).

1867 lived with Bazi in Weng Fleur.

During the Franco-Prussian War, Sisley went to London as a British citizen and met Durrant Ruhr.

187 1 year, Sisley exhibited two paintings at the London Art Exhibition.

1873, three paintings by Sisley were included in the exhibition hall catalogue.

/kloc-participated in the first exhibition of "Independent Painters" (hereinafter referred to as Impressionism) in 0/874.

1876 participated in the Impressionist Art Exhibition.

1877 participated in the Impressionist Art Exhibition.

Sisley left impressionism on 1878.

1882 participated in an exhibition after the disintegration of Impressionism.

1883, Durrant-Luer held the first solo exhibition for Sisley.

1890 Sisley's health began to deteriorate.

Gustav Christopher Jouffreau visited Sisley in 1894. At that time, Sisley was already depressed, and Sisley was also depressed in art in his later years.

From 65438 to 0897, the famous painter George Bertie held a large-scale exhibition of Sisley's works, but the critics kept silent about this exhibition.

1898 Sisley has throat cancer.

1899 65438+1October 2 1 Sisley felt that he would die forever. He called Monet to say goodbye.

1899 65438+1October 29th Sisley died in Moliere at the age of 60.

impressionism

Impressionism (1874- 1886): painting with instant impressions without reliable knowledge. When a painter grasps a characteristic surface to paint, he has to fly a brush to draw colors directly on the canvas. They can only consider the overall effect of the painting and less consider the details.

Impressionist painting uses a lot of brushstrokes, and the works lack decoration, which is a sloppy painting.

Impressionism adopts the creative method of directly depicting scenery in outdoor sunlight, pursues the overall sense and atmosphere of objects in the change of light and color, and advocates reflecting the instantaneous impression of nature according to the seven colors of red, orange, yellow, green, blue and purple in the solar spectrum. Impressionist works have a wide range of themes, and painters try to capture the ever-changing nature in cities and villages.

Related works

Special silver Little Square.

Argent Teyide pedestrian bridge

A small village by the Seine.

Regatta in Moliis

review

The Garden Trail of Luciens

Village side alley

towboat

The first snow on Rufushen Avenue

Luchao

Grassland in spring

Under the bridge at Hampton Yard.

Molly's Festival

Bad scenery

The beach at the pier in Port Mar.

French Saavala

Molly in the morning sun

Mali snow scene

Mori scenery

The road from Verbilin to Leuven.

Morley church under the rising sun

A woman who goes to the forest

The flood in Port Mar

Snow at Louveciennes

Introduction of works

Edge of Fontainebleau forest

Sisley's early landscape works in the1860s were full of calm tones, and his works were mainly dark brown, green, gray and blue, which also showed his preference for structure and space. Such as 1866 "Fontainebleau Linbian" which was created and exhibited in the official salon. From this painting, we can feel that Sisley's works in this period were obviously influenced by Gustav Cooper's realism (18 19- 1877), and his brushwork was rigorous and ingenious, with strong sense and strong classical flavor.

Special silver Little Square.

Sisley's paintings during 1872- 1876 are the best, reaching an unprecedented height in Sisley. The painting "Silver Art Little Square" is the work of 1872. If we compare this painting with some of Monet's and pissarro's early works, what is striking is not only that Sisley's paintings are more calm and natural, but also the unique techniques he obtained from Connor. For Sisley, rural scenery is not the basis of creating contrast between light and shade, nor is it the theme of life, but the relationship between colors. These colors are so rich, strong and mottled. Yellow, rose and green emphasize the gray tone of the house, and brown emphasizes the tone of the land. Some roofs are brown and some are dark blue. The bright pink-blue sky sets them off.

Snow at Louveciennes

Impressionist painters are often keen to show the effect of snow, which is completely understandable; Getting strong color harmony from white and gray is a particularly fascinating task, which Monet, pissarro and Renoir all have the ability to accomplish. However, I'm afraid no one's works can match the snow effect in Sisley. His eyes are extremely keen and can detect subtle changes in tone transition. "Snow at Louveciennes" is painted in a light pink tone, arousing people's optimistic feelings and generating love for the snow covering the house and the earth; The concentrated and compact composition shows the artist's closeness to nature.

Rufushen princess boulevard

1875' s Princess Avenue in Rufushen is a real miracle of the transformation of the theme art, which is not only dull, but also has little to watch. Even the road name itself sounds ridiculous. This painting is bolder in color treatment than before: the house is rose, green and blue; Roads, hills and sky are also rose, green and blue, but the colors are different. The color is more beautiful; It shows the artist's inner joy and praise for the sunset glow; Color reveals to us the purity and peace of this eternal young mind.

"A boat in the flood"

The flood in Port Mar once caught Sisley's attention. In many of his works, he shows that the flooded river swept through and penetrated everything around him, and the water surface sparkled, which is a typical theme of impressionist painters. Painted in 1876, The Ship in the Flood is based on the subtle changes between gray, light blue and individual brown tones in the painting process. However, this insipid feeling full of water vapor has turned into a charming feeling and a mythical realm in Sisley's works. Today, on the way to Port Mar, you can still see this ordinary broken house. However, as long as you have witnessed the house with your own eyes, you will feel how Sisley transformed it poetically.

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.

Molai bridge

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.

Murray bridge

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 the 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. "

Rufuschin's Garden Path

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.

flood at harbor marley

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. "