استعلمتاريخرؤى السوقنتائج المزادمجموعات المتحفلوحات كاتدرائية مونيهأعمال مماثلة
العودة

ألفريد SISLEY & nbsp(1839-1899)

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Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight. Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.
L'Église de Moret, le Soir189431 1/4 x 39 1/2 in. (81.28 × 100.33 سم) قماش زيتي
الاصل
سيسلي العقارية
بيع: Vente de l'Atelier Sisley, Galeries Georges Petit Paris, May 1, 1899, lot 13
جورج فياو، باريس
بيع: فندق دروت باريس، 20 فبراير 1908، قطعة 37
مجموعة بيرسون، باريس (تم الاستحواذ عليها في عملية البيع المذكورة أعلاه)
بيع: فينتي بيرسون، غاليري بول كاسيرير برلين، 18 أكتوبر 1927، قطعة 65
مجموعة خاصة
بيع: فندق دروت، باريس، 23 يونيو 1928، قطعة 98
مجموعة أوبيرت ، باريس (تم شراؤها في البيع أعلاه ؛ ربما مارسيل أوبيرت)
مجموعة خاصة إدوارد ناهيم غاليري
S... اكثر...تيفن بيدوفيتز ، بوكا راتون ، فلوريدا (تم الحصول عليها في عام 1989)
مجموعه خاصه ، نيويورك
لاري لاسيرت ، دالاس (تم الاستحواذ عليه في عام 1991)
مجموعة خاصة (تم الحصول عليها عام 1996)
معرض
طوكيو، متحف إيسيتان للفنون؛ كاغاوا، متحف تاكاماتسو البلدي للفنون؛ هيروشيما، متحف الفن وواكاياما، متحف إدارة الفن الحديث، معرض ألفريد سيسلي، 2000، العدد 53، مصور بالألوان الصفحات 138-139
الادب
O. Reuterswaerd, 'Sisley's Cathedrals, A Study of the Church at Moret' in Gazette des Beaux Arts, March 1952, fig. 1, illustrated p. 194
ف. دولتي، ألفريد سيسلي. Catalogue raisonné de l'œuvre peint, لوزان, 1959, No. 835, موضح بالأبيض والأسود
ف. دولتي، سيسلي. Les Saisons, Paris, 1992, No. 41, موضحة بالألوان ص 73
() R. Shone, Sisley, New York, 1992, pl. 134, موضح بالألوان ص 170 (مذكور الصفحات 164-165)
Brame، S.، Sisley، A.، Lorenceau، F.، & Daulte، O. (2021). ألفريد سيسلي: كتالوج نقد البينتورات والباستيل. ص 347 مريض. 347, 501
... اقل...
العودة
الاستفسار

"أبدأ دائما لوحة مع السماء." - ألفريد سيسلي

التاريخ

بين إيل دو فرانس وبورغندي وعلى حافة غابة فونتينبلو تقع قرية موريه سور لوينغ التي تعود للقرون الوسطى، والتي أنشئت في القرن ال12. عندما وصف ألفريد سيسلي شخصيته لمونيه في رسالة مؤرخة 31 أغسطس 1881 بأنها "منظر طبيعي لصندوق الشوكولاتة ..." كان يقصدها كتذكار للإغراء. أن الاحتفاظ بها ، والأسوار ، والكنيسة ، والبوابات المحصنة ، والواجهات المزخرفة التي تقع على طول النهر كانت ، بالنسبة للرسام ، مكانا من السحر الذي لا مثيل له. ستكون الكنيسة القديمة ، التي تعد دائما أكثر ميزات المدينة إثارة للدهشة على طول وادي السين ، موجودة في مناظر مدينة سيسلي كما كانت بالنسبة ل Corot ، ولمونيه في Vétheuil. ولكن على عكس مونيه الذي تم إعدام ثلاثين منظرا لكاتدرائية روان حتى يتمكن من تتبع لعب الضوء والظل عبر واجهة الكاتدرائية والتقاط الطبيعة السريعة الزوال للتغيرات لحظة بلحظة في الضوء والجو ، شرع سيسلي في تأكيد الطبيعة الدائمة لكنيسة نوتردام في موريت سور لوينغ.  كان الشاغل الوحيد لمونيه هو الهواء والضوء، ويبدو أن تذكار سيسلي هو تذكار تكريمي. تنضح اللوحة باحترام المهندسين المعماريين والبنائين الأصليين لهيكل منيع وحازم للغاية ، فقد وقفت آنذاك كما كانت في تلك العصور الوسطى ، والتي تقف بالنسبة لنا اليوم ، كما هي ، إلى زمن سحيق.

ومع ذلك ، سعى سيسلي جاهدا لإظهار المظهر المتغير للزخارف من خلال سلسلة من التغيرات الجوية. أعطى عناوين الأعمال مثل "In Sunshine" و "Under Frost" و "In Rain" وعرضها كمجموعة في صالون Du Champ-de-Mars في عام 1894 ، وهي عوامل تشير إلى أنه فكر فيها كتفسيرات متسلسلة. ومع ذلك ، على عكس عمل مونيه ، l'église de Moret ، يكشف Le Soir أن سيسلي اختار عرض الفكرة ضمن سياق مكاني يبرز سماته التركيبية - المنظور الهابط للشارع الضيق على اليسار ، والركود القطري القوي لخطوط البناء كموازنة لليمين ، والوزن المهيب للمبنى الحجري فوق خط البصر.

الاستفسار
  • Sisley39199_history1
    ألفريد سيسلي
  • Sisley39199_history2
    جان بابتيست كاميل كورو ، "Moret sur Loing ، le pont et l'eglise" ، 1822 ، مجموعة خاصة
  • SIsley39199_history3
    كلود مونيه ، "كاتدرائية روان ، الواجهة الغربية" ، 1894 ، المعرض الوطني للفنون ، واشنطن ، د.C.
  • SIsley39199_history4
    ألفريد سيسلي ، "Le Pont de Moret ، effet d'orage" ، 1887 ، متحف مالرو ، لا هافر
  • Sisley39199_history5
    بطاقة بريدية لموريت سور لوينغ، l'eglise Norte-Dame
  • Sisley39199_history6
    بطاقة بريدية لموريت سور لوينغ، La rue de l'Eglise
  • Sisley39199_history7
    ألفريد سيسلي، "الكنيسة في شمس المساء"، 1894، متحف الفنون الجميلة في روان، روان، فرنسا
  • Sisley39199_history8
    Eglise Notre Dame de Moret-sur-Loing, Seine et Marne
"كل صورة تظهر بقعة وقع فيها الفنان في الحب." – ألفريد سيسلي

رؤى السوق

  • Sisley39199_insights
  • يبلغ السعر القياسي للوحة سيسلي في المزاد أكثر من 9 ملايين دولار ، تم تحديده في عام 2017 من خلال مشهد شتوي أصغر بكثير من L'église de Moret ، le Soir
  • لا يوجد سوى 884 لوحة زيتية لسيسلي في الوجود ، والعديد منها في مجموعات متحف دائمة ، تاركة القليل من الأمثلة الممتازة على نطاق واسع التي يمكن أن تصبح متاحة للبيع الخاص.
  • L'église de Moret, le Soir كبيرة بشكل استثنائي مقارنة بأعمال سيسلي الأخرى ، وتنتمي إلى نفس المجموعة الخاصة منذ عام 1996 ، مما يضيف إلى قيمتها
  • وهي موقعة في أسفل اليمين "سيسلي 94" وموثقة في كتالوج سيسلي ( F. Daulte, Lausanne, 1959, No. 835, موضحة بالأبيض والأسود)
  • يصور كنيسة نوتردام في موريت ، وهو موضوع مهم أعاد سيسلي النظر فيه ما يقرب من عشر مرات منذ أن استقر في موريت في عام 1889
الاستفسار

لوحات مماثلة تباع في مزاد علني

زيت على قماش، 21 1/4 × 25 3/8 بوصة. يباع في سوذبيز لندن: 1 مارس 2017.

"Effet de Neige à Louveciennes" (1874) بيعت مقابل 9,064,733 دولار.

زيت على قماش، 21 1/4 × 25 3/8 بوصة. يباع في سوذبيز لندن: 1 مارس 2017.
  • لوحة أصغر مع لوحة ألوان صامتة ، ولكن ظلال جميلة
  • مشهد الشتاء النادر
  • تحديد السعر القياسي لسيسلي في مزاد علني في 2017
زيت على قماش، 20 1/8 × 25 3/4 بوصة. يباع في سوذبيز نيويورك: 4 نوفمبر 2014.

"Le loing à Moret" (1883) بيعت مقابل 4,869,000 دولار.

زيت على قماش، 20 1/8 × 25 3/4 بوصة. يباع في سوذبيز نيويورك: 4 نوفمبر 2014.
  • أصغر بكثير من قطعتنا
  • أقل تشطيبا مع عدم وجود أرقام
  • ضوء جميل ولوحة ألوان
زيت على قماش، 25 5/8 × 36 1/8 بوصة. بيعت في دار سوذبيز لندن: 5 فبراير 2008.

"Moret-sur-Loing" (1891) مقابل 4,685,031 دولارا.

زيت على قماش، 25 5/8 × 36 1/8 بوصة. بيعت في دار سوذبيز لندن: 5 فبراير 2008.
  • لوحات سيسلي الكبيرة مثل هذه اللوحة ولوحاتنا نادرة وأكثر قيمة
  • بيعت قبل ثماني سنوات بأكثر من 4.6 مليون دولار ، ونما السوق
زيت على قماش، 28 7/8 × 36 5/8 بوصة. بيعت في دار سوذبيز لندن للتنس في لندن: 5 فبراير 2007.

"Le loing à Moret, en été" (1891) بيعت مقابل 5,746,135 دولار.

زيت على قماش، 28 7/8 × 36 5/8 بوصة. بيعت في دار سوذبيز لندن للتنس في لندن: 5 فبراير 2007.
  • قماش كبير آخر من بضع سنوات سابقة
  • مثل لوحتنا، فإنه يتضمن الرقم، مما يزيد من قيمة

لوحات في مجموعات المتحف

"الكنيسة في موريت في شمس الصباح" (1893) ، زيت على قماش ، 26 × 32 بوصة.

متحف الفنون الجميلة في روان

"الكنيسة في موريت في شمس الصباح" (1893) ، زيت على قماش ، 26 × 32 بوصة.
"الكنيسة في شمس الصباح" (1893)، زيت على قماش، 39 3/8 × 33 1/4 بوصة.

متحف كونست، فينترتور، سويسرا

"الكنيسة في شمس الصباح" (1893)، زيت على قماش، 39 3/8 × 33 1/4 بوصة.
"الكنيسة في موريت بعد المطر" (1894) ، زيت على قماش ، 28 3/4 × 23 3/4 بوصة.

معهد ديترويت للفنون

"الكنيسة في موريت بعد المطر" (1894) ، زيت على قماش ، 28 3/4 × 23 3/4 بوصة.
"الكنيسة في موريت (مساء)" (1894)، زيت على قماش، 39 3/4 × 32 1/4 بوصة.

القصر الصغير، باريس

"الكنيسة في موريت (مساء)" (1894)، زيت على قماش، 39 3/4 × 32 1/4 بوصة.
"L'église de Moret-sur-Loing, temps de pluie le matin" (1894)، زيت على قماش، 26 × 32 بوصة.

معرض هنتريان للفنون ، جامعة غلاسكو

"L'église de Moret-sur-Loing, temps de pluie le matin" (1894)، زيت على قماش، 26 × 32 بوصة.
"أنا أحب كل هؤلاء الرسامين الذين أحبوا الطبيعة وكان لديهم شعور قوي بها." - ألفريد سيسلي

معرض الصور

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لوحات كاتدرائية سيسلي ومونيه

الاستفسار

الاستعلام - الفن واحد

قد تحب أيضا

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