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ALFRED SISLEY (1839-1899)

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
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.
Die Kirche von Moret, der Nachmittag189431 1/4 x 39 1/2 Zoll.(81,28 x 100,33 cm) Öl auf Leinwand
Provenienz
Anwesen Sisley
Verkauf: Vente de l'Atelier Sisley, Galeries Georges Petit Paris, 1. Mai 1899, Los 13
George Viau, Paris
Verkauf: Hôtel Drouot Paris, 20. Februar 1908, Los 37
Sammlung Pearson, Paris (erworben bei der oben genannten Versteigerung)
Versteigerung: Vente Pearson, Galerie Paul Cassirer Berlin, 18. Oktober 1927, Los 65
Privatsammlung
Verkauf: Hôtel Drouot, Paris, 23. Juni 1928, Los 98
Sammlung Aubert, Paris (erworben bei der oben genannten Versteigerung; möglicherweise Marcel Aubert)
Privatsammlung Galerie Edward Nahem
S...Mehr.....teven Bedowitz, Boca Raton, Florida (erworben 1989)
Privatsammlung, New York
Larry Lacerte, Dallas (erworben im Jahr 1991)
Privatsammlung (erworben 1996)
Ausstellung
Tokyo, Isetan Museum of Art; Kagawa, Takamatsu Municipal Museum of Art; Hiroshima, Museum of Art und Wakayama, Departmental Museum of Modern Art, Exposition Alfred Sisley, 2000, Nr. 53, illustriert in Farbe pp. 138-139
Literaturhinweise
O. Reuterswaerd, 'Sisley's Cathedrals, A Study of the Church at Moret' in Gazette des Beaux Arts, März 1952, Abb. 1, illustriert S. 194
F. Daulte, Alfred Sisley. Catalogue raisonné de l'œuvre peint, Lausanne, 1959, Nr. 835, schwarz-weiß illustriert
F. Daulte, Sisley. Les Saisons, Paris, 1992, Nr. 41, abgebildet in Farbe S. 73
R. Shone, Sisley, New York, 1992, Abb. 134, farbig illustriert S. 170 (erwähnt S. 164-165)
Brame, S., Sisley, A., Lorenceau, F., & Daulte, O. (2021). Alfred Sisley: Catalogue critique des peintures et des pastels. S. 347 ill. 347, 501
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Fragen Sie

"Ich beginne ein Gemälde immer mit dem Himmel". - Alfred Sisley

Geschichte

Zwischen der Île-de-France und Burgund, am Rande des Waldes von Fontainebleau, liegt das mittelalterliche Dorf Moret-sur-Loing, das im12. Jahrhundert gegründet wurde. Als Alfred Sisley in einem Brief vom 31. August 1881 an Monet den Charakter des Ortes als "eine Schokoladenlandschaft" beschrieb, meinte er damit, dass der Bergfried, die Stadtmauer, die Kirche, die befestigten Tore und die verzierten Fassaden entlang des Flusses für einen Maler eine Kulisse von unvergleichlichem Reiz darstellten. Eine alte Kirche, die immer das auffälligste Merkmal des Stadtbildes im Seine-Tal war, würde in Sisleys Stadtansichten ebenso präsent sein wie bei Corot und bei Monet in Vétheuil. Doch im Gegensatz zu Monet, der dreißig Ansichten der Kathedrale von Rouen schuf, um das Spiel von Licht und Schatten auf der Fassade der Kathedrale nachzuvollziehen und den flüchtigen Charakter der momentanen Veränderungen von Licht und Atmosphäre einzufangen, wollte Sisley den dauerhaften Charakter der Kirche Notre-Dame in Moret-sur-Loing bekräftigen. Monets einziges Anliegen waren Luft und Licht, und Sisleys Gemälde scheint eine Hommage zu sein. Das Gemälde verströmt Respekt vor den ursprünglichen Architekten und Erbauern eines Bauwerks, das so uneinnehmbar und entschlossen war, dass es damals wie im Mittelalter stand und für uns heute wie für alle Ewigkeit bestehen wird.

Dennoch war Sisley bestrebt, die wechselnde Erscheinung des Motivs durch eine Reihe von atmosphärischen Veränderungen darzustellen. Er gab den Werken Titel wie "Im Sonnenschein", "Unter Frost" und "Im Regen" und stellte sie 1894 im Salon du Champ-de-Mars als Gruppe aus, was darauf hindeutet, dass er sie als serielle Interpretationen betrachtete. Im Gegensatz zu Monets Werk l'église de Moret zeigt le Soir jedoch, dass Sisley das Motiv in einem räumlichen Kontext darstellte, der seine kompositorischen Attribute hervorhebt - die abfallende Perspektive der schmalen Straße links, der starke diagonale Rücksprung der Gebäudelinien als Gegengewicht auf der rechten Seite und das imposante Gewicht des steinernen Gebäudes oberhalb der Sichtlinie.

Fragen Sie
  • Sisley39199_Geschichte1
    Alfred Sisley
  • Sisley39199_Geschichte2
    Jean-Baptiste-Camile Corot, "Moret sur Loing, le pont et l'eglise", 1822, Privatsammlung
  • SIsley39199_Geschichte3
    Claude Monet, "Kathedrale von Rouen, Westfassade", 1894, National Gallery of Art, Washington, D.C.
  • SIsley39199_Geschichte4
    Alfred Sisley, "Le Pont de Moret, effet d'orage", 1887, Musée Malraux, La Havre
  • Sisley39199_Geschichte5
    Eine Postkarte von Moret sur Loing, l'eglise Norte-Dame
  • Sisley39199_Geschichte6
    Eine Postkarte von Moret sur Loing, La rue de l'Eglise
  • Sisley39199_Geschichte7
    Alfred Sisley, "Die Kirche in der Abendsonne", 1894, Musée des Beaux-Arts de Rouen, Rouen, Frankreich
  • Sisley39199_Geschichte8
    Kirche Notre Dame de Moret-sur-Loing, Seine und Marne
"Jedes Bild zeigt einen Fleck, in den sich der Künstler verliebt hat." - Alfred Sisley

MARKTEINBLICKE

  • Sisley39199_Einblicke
  • Der Rekordpreis für ein Sisley-Gemälde bei einer Auktion liegt bei über 9 Mio. $ und wurde 2017 von einer Winterlandschaft erzielt, die deutlich kleiner ist als L'église de Moret, le Soir
  • Es gibt nur 884 Ölgemälde von Sisley, von denen sich viele in ständigen Museumssammlungen befinden, so dass nur wenige hervorragende großformatige Exemplare für den privaten Verkauf in Frage kommen.
  • L'église de Moret, le Soir ist im Vergleich zu anderen Werken Sisleys außergewöhnlich groß und befindet sich seit 1996 in derselben Privatsammlung, was seinen Wert noch erhöht.
  • Es ist rechts unten signiert "Sisley 94" und im Sisley-Katalog raisonné dokumentiert (F. Daulte, Lausanne, 1959, Nr. 835, schwarz-weiß abgebildet)
  • Das Bild zeigt die Kirche Notre Dame in Moret, ein wichtiges Motiv, das Sisley seit seiner Niederlassung in Moret im Jahr 1889 fast ein Dutzend Mal wieder aufgriff.
Fragen Sie

Vergleichbare Gemälde bei einer Auktion verkauft

Öl auf Leinwand, 21 1/4 x 25 3/8 Zoll. Verkauft bei Sotheby's London: 1. März 2017.

"Effet de Neige à Louveciennes" (1874) wurde für 9.064.733 Dollar verkauft.

Öl auf Leinwand, 21 1/4 x 25 3/8 Zoll. Verkauft bei Sotheby's London: 1. März 2017.
  • Kleineres Gemälde mit einer gedämpften Farbpalette, aber schönen Schatten
  • Seltene Winterszene
  • Rekordpreis für Sisley bei einer Auktion im Jahr 2017
Öl auf Leinwand, 20 1/8 x 25 3/4 Zoll. Verkauft bei Sotheby's New York: 4. November 2014.

"Le loing à Moret" (1883) wurde für 4.869.000 $ verkauft.

Öl auf Leinwand, 20 1/8 x 25 3/4 Zoll. Verkauft bei Sotheby's New York: 4. November 2014.
  • Deutlich kleiner als unser Stück
  • Weniger gut verarbeitet und ohne Zahlen
  • Schönes Licht und Farbpalette
Öl auf Leinwand, 25 5/8 x 36 1/8 Zoll. Verkauft bei Sotheby's London: 5. Februar 2008.

"Moret-sur-Loing" (1891) für 4.685.031 $.

Öl auf Leinwand, 25 5/8 x 36 1/8 Zoll. Verkauft bei Sotheby's London: 5. Februar 2008.
  • Große Sisley-Gemälde wie dieses und unseres sind selten und noch wertvoller
  • Vor acht Jahren für über $4,6 Mio. verkauft, und der Markt ist gewachsen
Öl auf Leinwand, 28 7/8 x 36 5/8 Zoll. Verkauft bei Sotheby's London: 5. Februar 2007.

"Le loing à Moret, en été" (1891) wurde für 5.746.135 $ verkauft.

Öl auf Leinwand, 28 7/8 x 36 5/8 Zoll. Verkauft bei Sotheby's London: 5. Februar 2007.
  • Eine weitere große Leinwand von vor ein paar Jahren
  • Wie unser Gemälde enthält es eine Figur, die den Wert erhöht.

Gemälde in Museumssammlungen

"Die Kirche von Moret in der Morgensonne" (1893), Öl auf Leinwand, 26 x 32 cm.

Museum der schönen Künste von Rouen

"Die Kirche von Moret in der Morgensonne" (1893), Öl auf Leinwand, 26 x 32 cm.
"Die Kirche in der Morgensonne" (1893), Öl auf Leinwand, 39 3/8 x 33 1/4 Zoll.

Kunst Museum, Winterthur, Schweiz

"Die Kirche in der Morgensonne" (1893), Öl auf Leinwand, 39 3/8 x 33 1/4 Zoll.
"Die Kirche von Moret nach dem Regen" (1894), Öl auf Leinwand, 28 3/4 x 23 3/4 Zoll.

Das Detroit Institute of Arts

"Die Kirche von Moret nach dem Regen" (1894), Öl auf Leinwand, 28 3/4 x 23 3/4 Zoll.
"Die Kirche von Moret (Abend)" (1894), Öl auf Leinwand, 39 3/4 x 32 1/4 Zoll.

Das Petit Palais, Paris

"Die Kirche von Moret (Abend)" (1894), Öl auf Leinwand, 39 3/4 x 32 1/4 Zoll.
"L'église de Moret-sur-Loing, temps de pluie le matin" (1894), Öl auf Leinwand, 26 x 32 Zoll.

Hunterian Art Gallery, Universität Glasgow

"L'église de Moret-sur-Loing, temps de pluie le matin" (1894), Öl auf Leinwand, 26 x 32 Zoll.
"Ich mag alle Maler, die die Natur lieben und ein starkes Gefühl für sie haben." - Alfred Sisley

Bild-Galerie

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Sisley und Monet Kathedralgemälde

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