拍品 10
  • 10

阿爾弗雷德·希斯里 《魯應河畔的房屋》

估價
400,000 - 600,000 GBP
已售出
609,000 GBP
招標截止

描述

  • Alfred Sisley
  • 《魯應河畔的房屋》
  • 款識:畫家簽名Sisley並紀年89(右下)
  • 油彩畫布

來源

布洛特收藏(1954年或之前購入)
施米特畫廊,巴黎
亞瑟·杜斯家族有限公司,倫敦(1968年購自上述畫廊)
現藏家1968年購自上述公司

展覽

London, Arthur Tooth & Sons Ltd., Recent Acquisitions XXIII, 1968, no. 16, illustrated in the catalogue 

London, Arthur Tooth & Sons Ltd., Paintings by Boudin, Monet, Pissarro, Renoir and Sisley, 1972, no. 20, illustrated in the catalogue

London, David Carritt Ltd., Alfred Sisley, 1981, no. 17, illustrated in the catalogue 

Paris, Musée d'Orsay, Munch et la France, 1991-92, no. 63, illustrated in colour in the catalogue 

出版

弗朗索瓦·杜特,《阿爾弗雷德·希斯里油畫作品總錄》,洛桑,1959年,品號697,載圖

雷蒙·科尼亞,《希斯里》,巴黎,1978年,第63頁載彩圖

阿爾弗雷德·希斯里之友,《阿爾弗雷德·希斯里在莫雷、弗諾、聖馬梅斯的繪畫路徑》,莫雷,1989年,品號18,載局部圖

拍品資料及來源

During the 1880s and 1890s Sisley painted a series of works from different vantage points along the banks of the Loing. ‘[Sisley] was indefatigable in his exploration of the Loing, wide and shallow as it passed under the old bridge at Moret, deepening and curving as, joined first by the canal du Loing and, almost immediately afterwards, by the energetic stream of the Orvanne, it flowed towards Saint-Mammès and out into the Seine. Each adjoining area satisfied the variety of needs within Sisley’s visual temperament’ (R. Shone, Sisley, London, 1992, p. 144). Here, Sisley clearly took joy in depicting the splendour of nature, using quick, lively brush-strokes for the rich vegetation and cool blue tones to render the freshness of open air. Executed with a remarkable lightness of his brush, the tree and the water appear to be gently moving in the breeze of a summer day.

Sisley first moved with his family to Veneux-Nadon near Moret-sur-Loing in 1880, and continued to live in that area for the rest of his life, moving several times between the two villages. The local scenery offered a constant source of inspiration to the artist, who tried to capture the relationship between land, water and sky as well as the changing effects of light on his surroundings. In her discussion of Sisley’s paintings executed in this region, Vivienne Couldrey noted: ‘It is an essentially Impressionist place with the gentle light of the Ile de France, the soft colours and the constantly changing skies of northern France. There are green woods and pastures, curving tree-lined banks of rivers, canals and narrow streams, wide stretches of the river where the Loing joins the Seine at Saint-Mammès, old stone houses, churches and bridges’ (V. Couldrey, Alfred Sisley, The English Impressionist, Exeter, 1992, p. 68).

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