Place du Chenil à Marly, effet de neige by Alfred Sisley (1876) It is thought that Sisley’s depiction may have been influenced by Meindert Hobbema’s 1689 landscape painting, The Avenue at Middleharnis, which he would have seen at the National Gallery when he visited London. The Avenue at Middleharnis Meindert Hobbema (1689} He used this technique in many of his works as it allowed him to give movement to his depiction while also giving a feeling of space. It is a classic example of a perspective road which we see narrowing into the distance. Louveciennes: View of the Sèvrees Road by Alfred Sisley (1873)Īnother of Sisley’s works featuring Louveciennes is his 1873 painting entitled Louveciennes: View of the Sèvres Road. In his painting Louveciennes, above Marly, Sisley has depicted the view from Louveciennes, down over the forest and the riverside town of Marly. It is said that during the summer of 1871, Sisley, Renoir and Pissarro had watched Paris burn during the Prussian siege of the capital city. To manage his financial difficulties and to avoid the Prussian War, Sisley gave up his home in Paris and moved to the countryside and the town of Louveciennes, a village west of Paris. Louveciennes, above Marly by Alfred Sisley (1873) Sisley had relied heavily on his father’s financial support because of the low prices being offered for his artwork, and this revenue stream had come to an end. In 1870, the Franco-Prussian War began and this precipitated the failure of Sisley’s father’s silk business which ended in his father’s bankruptcy and the financial devastation hastened his death. Although they remained together until Eugenie’s death in 1898, they didn’t marry until August 5, 1897. In 1866, Sisley began a relationship with Eugenie Lesouezec and shortly thereafter the couple had two children: a son, Pierre, in 1867 and daughter, Jeanne in 1869. In what many would dismiss as unprepossessing patches of gardens or meadows, landscapes on the outskirts of towns or along river banks, Sisley could often discover the most arresting colour or light effects. He concentrated on views of village streets, or of interesting groups of buildings, he would be drawn to an old stone bridge, the kind of subject that had fascinated painters since Corot. Sisley went tirelessly in search of motifs along the Seine and its tributaries, he looked no further. The villages of the Seine and its tributaries
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