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拍品專文
Painted in 1890, the present work likely depicts an orchard in the environs of Moret-sur-Loing, a medival town to where Sisley relocated the year prior. The artist had begun painting in this area in 1880, when he settled at nearby Veneux-Nadon, and the area, with the Loing near by, became a central theme in his paintings in the 1890s.
Pommiers en fleur presents apple trees in full bloom, with the white flowers dotting the tree-tops, a quintessential view of Spring among the blossoms. In the background, a body of water is visible, perhaps a a glimpse of the Loing river with its bordering poplar trees visible in the distance. The linear structure of the poplars appealed to Sisley, and he painted them from various viewpoints and in different seasons, light, and weather conditions. These paintings, Richard Shone has noted, “gave expression to his love of clustered lines of perspective running to a low horizon; towering poplars along its banks give those marked vertical divisions that make for strong surface pattern, offsetting the diagonals that take us gently into the distance” (Sisley, London, 1992, p. 144).
The present work once belonged to Christian-Otto Zieseniss's collection, prioneering German-American stockbroker and diplomat, and remained in the family for almost nine decades.
Pommiers en fleur presents apple trees in full bloom, with the white flowers dotting the tree-tops, a quintessential view of Spring among the blossoms. In the background, a body of water is visible, perhaps a a glimpse of the Loing river with its bordering poplar trees visible in the distance. The linear structure of the poplars appealed to Sisley, and he painted them from various viewpoints and in different seasons, light, and weather conditions. These paintings, Richard Shone has noted, “gave expression to his love of clustered lines of perspective running to a low horizon; towering poplars along its banks give those marked vertical divisions that make for strong surface pattern, offsetting the diagonals that take us gently into the distance” (Sisley, London, 1992, p. 144).
The present work once belonged to Christian-Otto Zieseniss's collection, prioneering German-American stockbroker and diplomat, and remained in the family for almost nine decades.