Philip Conisbee wrote of a very similar work (Daulte no. 371): "Sisley painted over a hundred scenes of Saint-Mammès; in several of these he employed a similar composition of a receding road bordered on one side by houses and on the other by trees and a view of the river. Chestnut trees, such as the isolated one seen here, featured prominently in the town landscape... The large expanse of the subtly rendered sky distinguishes many of Sisley's finest paintings; he was constantly preoccupied with capturing the effects of light and changing weather. The meticulous, intricate brushwork is typical of Sisley around 1880, but unlike Monet, his forms always remained distant masses" (Philip Conisbee, Rodin and his Contemporaries: The Iris & B. Gerald Cantor Collection, New York, 1991, p. 160).
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