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ALFRED SISLEY (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 x 100,33 cm) lienzo al óleo
Procedencia
Finca de Sisley
Venta: Vente de l'Atelier Sisley, Galeries Georges Petit Paris, 1 de mayo de 1899, lote 13
George Viau, París
Venta: Hôtel Drouot París, 20 de febrero de 1908, lote 37
Colección Pearson, París (adquirida en la venta anterior)
Venta: Vente Pearson, Galerie Paul Cassirer Berlín, 18 de octubre de 1927, lote 65
Colección privada
Venta: Hôtel Drouot, París, 23 de junio de 1928, lote 98
Colección Aubert, París (adquirida en la venta anterior; posiblemente Marcel Aubert)
Colección privada Galería Edward Nahem
S...Más....teven Bedowitz, Boca Ratón, Florida (adquirida en 1989)
Private Collection, Nueva York
Larry Lacerte, Dallas (adquirido en 1991)
Colección privada (adquirida en 1996)
Exposición
Tokio, Museo de Arte Isetan; Kagawa, Museo Municipal de Arte Takamatsu; Hiroshima, Museo de Arte y Wakayama, Museo Departamental de Arte Moderno, Exposición Alfred Sisley, 2000, no. 53, ilustrado en color pp. 138-139
Literatura
O. Reuterswaerd, "Sisley's Cathedrals, A Study of the Church at Moret" en Gazette des Beaux Arts, marzo de 1952, fig. 1, ilustrada en la p. 194
F. Daulte, Alfred Sisley. Catalogue raisonné de l'œuvre peint, Lausana, 1959, nº 835, ilustrado en blanco y negro
F. Daulte, Sisley. Les Saisons, París, 1992, no. 41, ilustrado en color p. 73
R. Shone, Sisley, Nueva York, 1992, pl. 134, ilustrado en color p. 170 (mencionado pp. 164-165)
Brame, S., Sisley, A., Lorenceau, F., & Daulte, O. (2021). Alfred Sisley: Catalogue critique des peintures et des pastels. P. 347 ill. 347, 501
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"Siempre empiezo un cuadro con el cielo". - Alfred Sisley

Historia

Entre Île-de-France y Borgoña y al borde del bosque de Fontainebleau se encuentra el pueblo medieval de Moret-sur-Loing, fundado en el sigloXII. Cuando Alfred Sisley describió su carácter a Monet en una carta fechada el 31 de agosto de 1881 como "un paisaje de caja de bombones...", quiso decir que su torre del homenaje, las murallas, la iglesia, las puertas fortificadas y las fachadas ornamentadas enclavadas a lo largo del río eran, para un pintor, un escenario de encanto inigualable. Una antigua iglesia, que siempre es el elemento más llamativo del paisaje urbano del valle del Sena, estará presente en las vistas urbanas de Sisley, como lo estuvo para Corot y para Monet en Vétheuil. Pero, a diferencia de Monet, cuyas treinta vistas de la catedral de Ruán fueron ejecutadas para poder trazar el juego de luces y sombras a través de la fachada de la catedral y capturar la naturaleza efímera de los cambios de luz y atmósfera de un momento a otro, Sisley se propuso afirmar la naturaleza permanente de la iglesia de Notre-Dame en Moret-sur-Loing. La única preocupación de Monet era el aire y la luz, y la de Sisley parece ser un recuerdo de homenaje. El cuadro destila respeto por los arquitectos y constructores originales de una estructura tan inexpugnable y resuelta, que se mantuvo en pie entonces como en aquellos tiempos medievales, y que para nosotros, se mantiene en pie hoy, como lo hará, por tiempos inmemoriales.

Sin embargo, Sisley se esforzó por mostrar la apariencia cambiante del motivo a través de una serie de cambios atmosféricos. Dio a las obras títulos como "Bajo el sol", "Bajo la escarcha" y "Bajo la lluvia" y las expuso en grupo en el Salón del Campo de Marte de 1894, factores que sugieren que pensaba en ellas como interpretaciones en serie. Sin embargo, a diferencia de la obra de Monet, l'église de Moret, le Soir revela que Sisley eligió mostrar el motivo dentro de un contexto espacial que acentúa sus atributos compositivos: la perspectiva en picado de la estrecha calle de la izquierda, el fuerte retroceso diagonal de las líneas del edificio como contrapeso a la derecha y el imponente peso del edificio pétreo sobre la línea de visión.

Preguntar
  • Sisley39199_historia1
    Alfred Sisley
  • Sisley39199_historia2
    Jean-Baptiste-Camile Corot, "Moret sur Loing, le pont et l'eglise", 1822, Colección privada
  • SIsley39199_historia3
    Claude Monet, "Catedral de Rouen, fachada oeste", 1894, National Gallery of Art, Washington, D.C.
  • SIsley39199_historia4
    Alfred Sisley, "Le Pont de Moret, effet d'orage", 1887, Museo Malraux, La Havre
  • Sisley39199_historia5
    Una tarjeta postal de Moret sur Loing, l'eglise Norte-Dame
  • Sisley39199_historia6
    Una tarjeta postal de Moret sur Loing, La rue de l'Eglise
  • Sisley39199_historia7
    Alfred Sisley, "La iglesia bajo el sol del atardecer", 1894, Museo de Bellas Artes de Rouen, Rouen, Francia
  • Sisley39199_historia8
    Iglesia de Nuestra Señora de Moret-sur-Loing, Sena y Marne
"Cada cuadro muestra un lugar del que el artista se ha enamorado". - Alfred Sisley

CONOCIMIENTOS DEL MERCADO

  • Sisley39199_insights
  • El precio récord de un cuadro de Sisley en subasta supera los 9 millones de dólares, establecido en 2017 por un paisaje invernal bastante más pequeño que L'église de Moret, le Soir
  • Sólo existen 884 óleos de Sisley, y muchos de ellos se encuentran en colecciones permanentes de museos, por lo que quedan pocos ejemplos excelentes a gran escala que puedan estar disponibles para la venta privada
  • L'église de Moret, le Soir es excepcionalmente grande en comparación con otras obras de Sisley, y ha pertenecido a la misma colección privada desde 1996, lo que aumenta su valor
  • Está firmada en la parte inferior derecha "Sisley 94" y documentada en el catálogo razonado de Sisley (F. Daulte, Lausana, 1959, nº 835, ilustrado en blanco y negro)
  • Representa la iglesia de Notre Dame en Moret, un tema importante que Sisley volvió a visitar casi una docena de veces desde que se instaló en Moret en 1889
Preguntar

Cuadros comparables vendidos en subasta

Óleo sobre lienzo, 21 1/4 x 25 3/8 in. Vendido en Sotheby's Londres: 1 de marzo de 2017.

"Effet de Neige à Louveciennes" (1874) se vendió por 9.064.733 dólares.

Óleo sobre lienzo, 21 1/4 x 25 3/8 in. Vendido en Sotheby's Londres: 1 de marzo de 2017.
  • Cuadro más pequeño con una paleta de colores apagados, pero con hermosas sombras
  • Una rara escena invernal
  • Consigue el precio récord de Sisley en una subasta en 2017
Óleo sobre lienzo, 20 1/8 x 25 3/4 pulg. Vendido en Sotheby's Nueva York: 4 de noviembre de 2014.

"Le loing à Moret" (1883) se vendió por 4.869.000 dólares.

Óleo sobre lienzo, 20 1/8 x 25 3/4 pulg. Vendido en Sotheby's Nueva York: 4 de noviembre de 2014.
  • Significativamente más pequeño que nuestra pieza
  • Menos acabado y sin cifras
  • Hermosa luz y paleta de colores
Óleo sobre lienzo, 25 5/8 x 36 1/8 pulg. Vendido en Sotheby's Londres: 5 de febrero de 2008.

"Moret-sur-Loing" (1891) por 4.685.031 dólares.

Óleo sobre lienzo, 25 5/8 x 36 1/8 pulg. Vendido en Sotheby's Londres: 5 de febrero de 2008.
  • Los grandes cuadros de Sisley, como éste y el nuestro, son raros y más valiosos
  • Se vendió hace ocho años por más de 4,6 millones de dólares, y el mercado ha crecido
Óleo sobre lienzo, 28 7/8 x 36 5/8 pulg. Vendido en Sotheby's Londres: 5 de febrero de 2007.

"Le loing à Moret, en été" (1891) se vendió por 5.746.135 dólares.

Óleo sobre lienzo, 28 7/8 x 36 5/8 pulg. Vendido en Sotheby's Londres: 5 de febrero de 2007.
  • Otro gran lienzo de unos años antes
  • Al igual que nuestro cuadro, incluye una figura, lo que aumenta el valor

Pinturas en colecciones de museos

"La iglesia de Moret bajo el sol de la mañana" (1893), óleo sobre lienzo, 26 x 32 pulg.

Museo de Bellas Artes de Rouen

"La iglesia de Moret bajo el sol de la mañana" (1893), óleo sobre lienzo, 26 x 32 pulg.
"La iglesia bajo el sol de la mañana" (1893), óleo sobre lienzo, 39 3/8 x 33 1/4 pulg.

Museo Kunst, Winterthur, Suiza

"La iglesia bajo el sol de la mañana" (1893), óleo sobre lienzo, 39 3/8 x 33 1/4 pulg.
"La iglesia de Moret después de la lluvia" (1894), óleo sobre lienzo, 28 3/4 x 23 3/4 pulg.

El Instituto de Arte de Detroit

"La iglesia de Moret después de la lluvia" (1894), óleo sobre lienzo, 28 3/4 x 23 3/4 pulg.
"La iglesia de Moret (atardecer)" (1894), óleo sobre lienzo, 39 3/4 x 32 1/4 pulg.

El Petit Palais, París

"La iglesia de Moret (atardecer)" (1894), óleo sobre lienzo, 39 3/4 x 32 1/4 pulg.
"L'église de Moret-sur-Loing, temps de pluie le matin" (1894), óleo sobre lienzo, 26 x 32 pulg.

Galería de Arte Hunterian, Universidad de Glasgow

"L'église de Moret-sur-Loing, temps de pluie le matin" (1894), óleo sobre lienzo, 26 x 32 pulg.
"Me gustan todos los pintores que amaron y tuvieron un fuerte sentimiento por la naturaleza". - Alfred Sisley

Galería de imágenes

  • Sisley39199_gallery1
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  • Sisley39199_gallery10
  • Sisley39199_gallery1
  • Sisley39199_gallery2
  • Sisley39199_gallery3
  • Sisley39199_gallery4
  • Sisley39199_gallery5
  • Sisley39199_gallery6
  • Sisley39199_gallery7
  • Sisley39199_gallery8
  • Sisley39199_gallery9
  • Sisley39199_gallery10

Pinturas de catedral de Sisley y Monet

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Consulta - Arte individual

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