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Lot Essay
The Comité Alfred Sisley will include this painting in the new edition of the catalogue raisonné of Alfred Sisley by François Daulte, being prepared at Galerie Brame et Lorenceau.
In 1889 Sisley left Veneux-Nadon for Moret-sur Loing. He had visited the area frequently since the early 1880s, drawn to it by the rural terrain. Sisley painted numerous views of the woods, rivers and, as in the present painting, pastures. "He sought to express the harmonies that prevail, in all weather and at every time of day, between foliage, water and sky; and he succeeded...He loved river banks; the fringes of woodlands; towns and villages glimpsed through the trees; old buildings swamped in greenery; winter morning sunlight; summer afternoons. He had a delicate way of conveying the effects of foliage" (G. Geffroy, "Sisley," Les Cahiers d'Aujourd'hui, Paris, 1923, n.p.).
Christopher Lloyd remarks that Sisley's paintings from 1888 onward "show him at the height of his powers. All the experience of the previous decades was blended in these canvases which amount to the summation of his output: the paint is richly applied with the impasto more pronounced than in previous works, the brushwork more insistently rhythmical, the execution more rapid, and the colors more vibrant. There is little evidence to show that Sisley painted each canvas at more than one sitting or reworked the surface at later stages. Indeed the alla prima effect of these canvases amounts to a remarkable tour de force" ("Alfred Sisley and the Purity of Vision," Alfred Sisley, exh. cat., Royal Academy of Arts, London, 1992, p. 25).
Paysage de Printemps--Chemin aux environs de Moret-sur Loing conveys the mood of a spring day through its warm palette. Using small, rhythmic brushstrokes Sisley enlivens the surface of the canvas. His landscape paintings often included references to the essential harmony that he envisioned between man and nature and, in Paysage de Printemps--Chemin aux environs de Moret-sur Loing one can discern a figure driving a wagon in the forground while a lone figure is barely distinguishable walking in the opposite direction down the road.
In 1889 Sisley left Veneux-Nadon for Moret-sur Loing. He had visited the area frequently since the early 1880s, drawn to it by the rural terrain. Sisley painted numerous views of the woods, rivers and, as in the present painting, pastures. "He sought to express the harmonies that prevail, in all weather and at every time of day, between foliage, water and sky; and he succeeded...He loved river banks; the fringes of woodlands; towns and villages glimpsed through the trees; old buildings swamped in greenery; winter morning sunlight; summer afternoons. He had a delicate way of conveying the effects of foliage" (G. Geffroy, "Sisley," Les Cahiers d'Aujourd'hui, Paris, 1923, n.p.).
Christopher Lloyd remarks that Sisley's paintings from 1888 onward "show him at the height of his powers. All the experience of the previous decades was blended in these canvases which amount to the summation of his output: the paint is richly applied with the impasto more pronounced than in previous works, the brushwork more insistently rhythmical, the execution more rapid, and the colors more vibrant. There is little evidence to show that Sisley painted each canvas at more than one sitting or reworked the surface at later stages. Indeed the alla prima effect of these canvases amounts to a remarkable tour de force" ("Alfred Sisley and the Purity of Vision," Alfred Sisley, exh. cat., Royal Academy of Arts, London, 1992, p. 25).
Paysage de Printemps--Chemin aux environs de Moret-sur Loing conveys the mood of a spring day through its warm palette. Using small, rhythmic brushstrokes Sisley enlivens the surface of the canvas. His landscape paintings often included references to the essential harmony that he envisioned between man and nature and, in Paysage de Printemps--Chemin aux environs de Moret-sur Loing one can discern a figure driving a wagon in the forground while a lone figure is barely distinguishable walking in the opposite direction down the road.