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アルフレッド・シスレー (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.
夕暮れのモレ教会189431 1/4 x 39 1/2 in.(81.28 x 100.33 cm)キャンバスに油彩
出所
シスレー・エステート
売却アトリエ・シズレーのヴァント、ギャラリー・ジョルジュ・プティ・パリ、1899年5月1日、ロット13
ジョージ・ヴィアウ、パリ
販売オテル・ドゥルーオ・パリ、1908年2月20日、ロット37
パリ、ピアソンコレクション（上記セールで入手）
セールヴァンテ・ピアソン、ギャラリー・ポール・カッシーラー ベルリン、1927年10月18日、ロット65
個人コレクション
セールパリ、オテル・ドゥルーオ、1928年6月23日、ロット98
パリ、オーベール・コレクション（上記セールで購入、マルセル・オーベールの可能性あり）
個人コレクション エドワード・ネイム・ギャラリー
S...もっとその。。。teven Bedowitz, Boca Raton, Florida (1989年買収)
プライベートコレクション (ニューヨーク州)
ラリー・ラセルテ（ダラス）（1991年獲得
個人蔵（1996年取得）
展示会
東京、伊勢丹美術館、香川、高松市美術館、広島、和歌山、県立近代美術館、アルフレッド・シスレー展、2000年、No.53、カラー図版pp.138-139
文学
O.ロイタースワルド「シスレーの大聖堂、モレの教会の研究」『ガゼット・デ・ボザール』1952年3月号、図1、図版p. 194
F.Daulte, Alfred Sisley.Catalogue raisonné de l'œuvre peint, Lausanne, 1959, no.835, illustrated in black and white.
F.Daulte, Sisley.Les Saisons, Paris, 1992, no.41, カラー図版 p.73
R.Shone, Sisley, New York, 1992, pl.134, カラー図版 p.170 (164-165頁に記載)
ブラメ，S.，シスレー，A.，ロレンソー，F.，＆ドルト，O.（2021）．Alfred Sisley: Catalogue critique des peintures et des pastels（アルフレッド・シスレー：絵画とパステルのカタログ）.P. 347 ill.347, 501
...少ない。。。
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"私はいつも絵は空から始める"- アルフレッド・シスレー

歴史

イル・ド・フランスとブルゴーニュの間、フォンテーヌブローの森の端に、12世紀に設立された中世の村モレ・シュル・ロワンがある。アルフレッド・シスレーが1881年8月31日付の手紙でモネにこの村の特徴を「チョコレートボックスのような風景」と表現したのは、天守閣、城壁、教会、城門、川沿いに並ぶ豪華なファサードが画家にとって比類ない魅力に満ちた舞台だということを意味していたのである。セーヌ川流域で最も印象的な町並みである古い教会は、コローやモネのヴェトイユの町並みと同様に、シスレーの町並みにも存在感を示すことになる。しかし、ルーアン大聖堂の30景を描いたモネが、大聖堂のファサードの光と影の戯れを描き、光や雰囲気の一瞬一瞬の変化の儚さを表現したのに対し、シスレーはモレのノートルダム教会の永遠性を肯定しようとしたのである。 モネの関心は空気と光であり、シスレーのそれはオマージュであったように見える。この絵は、中世の時代と同じように、難攻不落で頑丈な建造物の建築家、建設者に対する尊敬の念を表している。

それでもシスレーは、モチーフの表情の変化を、一連の雰囲気の変化で表現することに努めた。陽光の中」「霜の下」「雨の中」といったタイトルをつけ、1894年のサロン・ド・マルにグループ展として出品するなど、連続した解釈として捉えていたことがうかがえる。しかし、モネの《モレの教会》とは異なり、シスレーはこのモチーフを、左側の狭い路地の急降下する遠近感、右側の建物列の強い斜めの後退とその対比、視線の上の石造りの建物の堂々とした重みといった、モチーフの構成上の特徴を際立たせる空間状況の中に展示することを選択したことが明らかにされた。

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  • シスレー39199_history1
    アルフレッド・シスレー
  • シスレー39199_history2
    ジャン＝バティスト＝カミーユ・コロー 「モレ・シュル・ロワン、橋と教会」 1822年 個人蔵
  • シスレー39199_history3
    クロード・モネ「ルーアン大聖堂、西側ファサード」1894年、ナショナルギャラリー（ワシントンD.C.）。
  • シスレー39199_history4
    アルフレッド・シスレー「モレの橋、エフェクト・ド・ラージュ」1887年、マルロー美術館、ラ・アーヴル
  • シスレー39199_history5
    モレ・シュル・ロワン、ノルテダム教会のポストカード
  • シスレー39199_history6
    モレ・シュール・ロワン、ラ・リュ・ド・レグリーズのポストカード
  • シスレー39199_history7
    アルフレッド・シスレー《夕日の中の教会》1894年 ルーアン美術館（フランス・ルーアン）蔵
  • シスレー39199_history8
    モレ・シュル・ロワンのノートルダム教会、セーヌ・エ・マルヌ県
"すべての絵には、画家が恋に落ちた場所が描かれている。"- アルフレッド・シスレー

マーケットインサイト

  • シスレー39199_インサイト
  • シスレーの絵画のオークションでの 最高価格は、2017年にL'église de Moret, le Soirよりかなり小さい 冬の風景画がつけた900万ドル以上
  • シスレーの油絵は現存するものが884点しかなく、その多くは美術館に永久保存されているため、個人で販売できるような優れた大作はほとんどありません。
  • 他のシスレー作品に比べ、サイズが大きく、1996年以来、同じ個人コレクションに属しているため、その価値はますます高まっている。
  • 右下に サイン「Sisley 94」、シスレー・カタログ・レゾネ（F. Daulte, Lausanne, 1959, no.835, illustrated in black and white）に記録 されている。
  • モレのノートルダム教会を描いたもので、1889年にモレに居を構えて以来、 シスレーは十数回にわたってこの重要な 主題を再確認している。
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オークションで落札された絵画

油彩・キャンバス、21 1/4 x 25 3/8 in.サザビーズ・ロンドンにて販売：2017年3月1日。

"Effet de Neige à Louveciennes" (1874) は9,064,733ドルで落札された。

油彩・キャンバス、21 1/4 x 25 3/8 in.サザビーズ・ロンドンにて販売：2017年3月1日。
  • 小さな絵で、色調は落ち着いているが、影が美しい
  • 冬の貴重な風景
  • 2017年のオークションで「シスレー」の記録的な価格を設定
油彩・キャンバス、20 1/8 x 25 3/4 in. サザビーズ・ニューヨークにて販売：2014年11月4日。

"Le loing à Moret" (1883)は486万9000ドルで落札された。

油彩・キャンバス、20 1/8 x 25 3/4 in. サザビーズ・ニューヨークにて販売：2014年11月4日。
  • 当社作品よりかなり小さい
  • フィギュアのない完成度の低いもの
  • 美しい光と色彩
キャンバスに油彩、25 5/8 x 36 1/8 in.2008年2月5日、サザビーズ・ロンドンにて販売。

"モレ・シュル・ロワン"（1891年）が4,685,031ドルで落札された。

キャンバスに油彩、25 5/8 x 36 1/8 in.2008年2月5日、サザビーズ・ロンドンにて販売。
  • この作品や私たちのような大きなシスレーの絵は珍しく、より価値があります。
  • 8年前に$4.6M以上で売却、市場は拡大
キャンバスに油彩、28 7/8 x 36 5/8 in.2007年2月5日、サザビーズ・ロンドンにて販売。

"Le loing à Moret, en été" (1891) は5,746,135ドルで落札された。

キャンバスに油彩、28 7/8 x 36 5/8 in.2007年2月5日、サザビーズ・ロンドンにて販売。
  • 数年前に制作されたもうひとつの大型キャンバス
  • 私たちの絵のように、フィギュアが付いているので価値が上がります。

美術館所蔵の絵画

"朝日の中のモレの教会"(1893) 油彩・キャンバス 26 x 32 in.

ルーアン美術館

"朝日の中のモレの教会"(1893) 油彩・キャンバス 26 x 32 in.
"朝日の中の教会"（1893年）、油彩・キャンバス、39 3/8 x 33 1/4 インチ。

クンスト美術館（スイス、ヴィンタートゥール

"朝日の中の教会"（1893年）、油彩・キャンバス、39 3/8 x 33 1/4 インチ。
「雨上がりのモレの教会」（1894年）、油彩・キャンバス、28 3/4 x 23 3/4 インチ。

デトロイト・インスティテュート・オブ・アーツ

「雨上がりのモレの教会」（1894年）、油彩・キャンバス、28 3/4 x 23 3/4 インチ。
「モレの教会（夕方）」（1894年）、油彩・キャンバス、39 3/4 x 32 1/4 インチ。

プチパレ（パリ

「モレの教会（夕方）」（1894年）、油彩・キャンバス、39 3/4 x 32 1/4 インチ。
「L'église de Moret-sur-Loing, temps de pluie le matin" (1894) 油彩・キャンバス、26 x 32 in.

グラスゴー大学ハンタリアンアートギャラリー

「L'église de Moret-sur-Loing, temps de pluie le matin" (1894) 油彩・キャンバス、26 x 32 in.
"私は自然を愛し、自然への強い想いを持った画家たちが好きだ"- アルフレッド・シスレー

イメージギャラリー

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シスレーとモネの聖堂絵画

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