العودة

ألفريد SISLEY & nbsp(1839-1899)

$1,350,000

الفنان بيو الاستفسارحميل PDF
 
<div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div> <div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div> <div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div> <div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div> <div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div> <div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div> <div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div> <div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div> <div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div> <div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div>
لو لافوار دي بيلانكور187920 × 25 5/8 بوصة(50.8 × 65.09 سم) زيت على قماش
الاصل
هنري بويداتز، باريس
غاليري جورج بيتي، باريس، 27 أبريل 1900، القطعة 79
جورج بيتي، تم شراؤها في المزاد المذكور أعلاه
مزاد: غاليري جورج بيتي، باريس، 4-5 مارس 1921، القطعة 113
كونت دي لانسكاي، باريس
فندق دروو، باريس، 6 أبريل 1922، القطعة 16
يوجين بلوت، باريس، تم شراؤها في المزاد المذكور أعلاه
الدكتور آرثر شاربنتير، باريس
مجموعة خاصة، سويسرا، تم شراؤها حوالي عام 1950
مجموعة خاصة، من الموروث أعلاه
مجموعة خاصة، أوروبا
سوثبيز نيويورك، 6 مايو 2015، لوت ... اكثر...250
مجموعة خاصة، لندن، تم شراؤها في المزاد المذكور أعلاه
معرض
باريس، غاليري جورج بيتي، ألفريد سيسلي، 1917، رقم 83
باريس، دوراند-رويل، لوحات سيسلي، 1930، رقم 23
باريس، غاليري دارت براون، سيسلي، 1933، رقم 13
برن، متحف الفنون، ألفريد سيسلي، 1958، رقم 38
باريس، متحف البيت الصغير، من جيريكوت إلى ماتيس، روائع المجموعات السويسرية، 1959، رقم 126
شافهاوزن، متحف زو ألرهيليغن، عالم الانطباعية، 1963، رقم 125
مينيابوليس، معهد مينيابوليس للفنون، إعادة اكتشاف الماضي: الرسم الفرنسي 1800-1900، 1969
 
الادب
ماكسيميليان غوتييه، "تحية إلى سيسلي"، في L'Art vivant، 1933، رقم 170، ص. 116 (مصورة)
فرانسوا دوالت، ألفريد سيسلي، كتالوج أعماله الفنية، باريس، 1959، رقم 315 (مصوّر)
جاك لاساين وسليفي غاش-باتان، سيسلي، باريس، 1982، ص. 31 (مصورة)
ماري آن ستيفنز، محررة، ألفريد سيسلي، لندن، 1992، ص. 154
سيلفي برام وفرانسوا لورنسو، ألفريد سيسلي: كتالوج نقد لوحات ورسومات الباستيل، باريس، 2021، ص. 155، 488 (مصورة)
... اقل...
تعد لوحة "Le Lavoir de Billancourt" (1879) للفنان ألفريد سيسلي مثالاً رائعاً على تفاني الفنان طوال حياته للرسم مباشرة أمام الطبيعة، وللدراما الهادئة للمناظر الطبيعية المتغيرة. غالبًا ما يوصف سيسلي بأنه "أنقى" رسام في الهواء الطلق في دائرة الانطباعيين، فقد حافظ على علاقة حصرية تقريبًا مع المناظر الطبيعية، منتبهًا لأدق التغيرات في الفصول والطقس والوقت من اليوم. لطالما قورنت مشاهده النهرية على وجه الخصوص بمشاهد مونيه بسبب حساسيتها تجاه الماء - انعكاساته المتغيرة، وحوافه الناعمة، والطريقة التي يذيب بها الضوء الشكل في الجو.


 


رسمت هذه اللوحة على ضفاف نهر السين في بيلانكورت، وهي بلدة صناعية غرب باريس، وهي تنتمي إلى سلسلة المناظر التي أنتجها سيسلي بعد الاضطرابات التي وقعت في عام 1871، عندما انتقل مع عائلته أولاً إلى لوفسيان ثم إلى مارلي-لو-روي القريبة. قدم له وادي السين موضوعًا متجددًا باستمرار: منحنيات النهر المتعرجة، والقرى المتناثرة على طول الضفاف، والمناظر الطبيعية التي تميزها كل من التاريخ والحياة الحديثة. هنا، يقع المغسلة العائمة (lavoir) على سطح الماء، وهي عبارة عن مبنى عملي حيث يمكن للسكان المحليين غسل ملابسهم مباشرة في النهر مقابل رسوم رمزية. يحول سيسلي هذا الموضوع اليومي إلى استحضار للمكان المعاش، حيث تندمج الأنشطة البشرية بسلاسة في إيقاعات السماء والتيار الأوسع.





يُعرف عقد السبعينيات من القرن التاسع عشر على نطاق واسع بـ "الفترة الذهبية" لسيسلي، عندما كانت أعماله تعبر عن صوت شخصي مميز بدلاً من التأثير الواضح لكورت وكوربيه أو حتى مونيه في بداياته. بعد توقفه عن العرض في الصالون بعد عام 1877، أصبحت مؤلفاته أكثر تعقيدًا وأقل اعتمادًا على التراجع التقليدي والمنظور الخطي، وتحولت بدلاً من ذلك إلى أنماط متشابكة وطاقة تعبيرية لفرشاته. في لو لافوار دي بيلانكور، يتم بناء طبقات من الصبغة بضربات سريعة متعددة الاتجاهات، مما يخلق سطحًا غنيًا بالملمس مشبعًا بالألوان والهواء. تتوافق هذه العفوية المتزايدة مع الإشادة المعاصرة بقدرة سيسلي على التقاط اللحظات العابرة - السحب والنسيم وأوراق الشجر المتمايلة - بحيث يبدو الفضاء والضوء متلازمين، وتبقى المشهد نابضة بالحياة. تم تسجيل اللوحة في François Dault Alfred Sisley: catalogue raisonné de l'oeuvre peint (1959) تحت الرقم 315.
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