阿尔弗雷德-西斯利和克劳德-莫奈的大教堂画作

2022年5月
教育

 

"经过一个下雨的早晨，天转晴了，我们开车去了莫雷特......我们看到了西斯莱。"- 朱莉-马内，1893年
  • 西斯利-职位1
    克劳德-莫奈，鲁昂大教堂系列
  • 莫奈的延时摄影
    观看盖蒂博物馆的 "延时 "视频，追踪太阳在莫奈系列画作中的进展。

莫奈的鲁昂大教堂 系列是艺术史上最著名的成就之一。在1892年2月初开始创作的三年多后，莫奈的30幅大教堂画作中的20幅在杜兰-鲁埃尔画廊展出，1895年5月，参加展览的人绝大多数认为这是一次胜利。在画家中，卡米尔-毕沙罗（Camille Pissarro）写道，他如何 "被他们非凡的灵巧所吸引"。塞尚，[毕沙罗]昨天在杜兰-鲁尔画廊见到了他，他完全同意......这是一个平衡而冲动的艺术家的作品，他追求的是其他画家所实现的无形的细微效果。"(卡米耶-毕沙罗致其子吕西安，1895年5月26日)

然而，莫奈在1892年4月追求这一努力时并不那么自信。莫奈以习惯性的情绪波动而闻名，他带着第一批大教堂画作回到吉维尼，并担心将光线及其对形式的影响推到以前所有的估计之外可能是一种过度的超越。但当他向参观者展示这些画作时，他们的反应是惊奇的惊讶，莫奈的信心也随之增强。美国画家西奥多-罗宾逊（Theodore Robinson）的盛赞与其他人看到这些杰作时的惊愕反应不谋而合。"它们简直是巨大的。我相信，以前从来没有人像这样画过建筑，这是对事物最惊人的印象，一种宏伟和衰败的感觉......没有一个地方有线条--但却有一种奇妙的结构和坚固感。一个人拿着这样的材料，对它进行如此华丽的利用，这不是很奇怪吗？"(罗宾逊致J.Alden Weir，1892年5月)

阿尔弗雷德-西斯利可能是大教堂的第一批响应者之一吗？肯定是的。莫奈和他是最亲密的朋友。虽然西斯利是一个私人的、安静的人，很少留下传记的线索，但他也是一个非常值得信赖的资源，是莫奈非常尊重的艺术家。事实上，西斯莱和莫奈的同伙的第一手资料证实了这两个系列作品之间的联系。1893年9月21日，朱莉-马奈（当时贝尔特-莫里索和爱德华-马奈的兄弟欧仁的十几岁的女儿）的日记中写道："在一个下雨的早晨之后，天气转晴，我们开车去莫雷......我们看到了西斯莱。"她的儿子，艺术史学家Denis Rouart证实了这一记载，并进一步指出："贝尔特和她的女儿......和马拉美夫妇一起去了莫雷，西斯莱在那里画了一系列的教堂--灵感来自莫奈的大教堂系列，或者说马拉美是这么认为的"。(Denis Rouart, 巴黎, 1950)

  • 西斯利-职位2
    (从左起)。克劳德-莫奈(1887年)/阿尔弗雷德-西斯莱(1863年)
  • 西斯利-职位3
    (从左起):Moret sur Loing, La rue de l'Eglise (vintage postcard) / Moret sur Loing, l'eglise Norte-Dame (vintage postcard)
  • 西斯利-职位4
    (从左起)。阿尔弗雷德-西斯莱，"L'Église de Moret, le Soir, (The Church at Moret, The Evening)"，画布上的旧画/Eglise Notre-Damer de la Nativite, Moret-sur-Loing的今日照片

阿尔弗雷德-西斯莱于1889年11月在洛宁河畔莫雷特定居，这是一个位于法兰西岛和勃艮第之间的村庄，位于枫丹白露森林的边缘，具有无可比拟的魅力。它最吸引人的地方是雄伟的哥特式Norte-Dame教堂，从河边看去，它占据了天际线。从西斯莱的小花园看去，教堂的塔楼是天际线上一个无处不在的特征。

与莫奈不同的是，他对鲁昂大教堂西侧门廊的30幅作品完全是为了考察建筑立面的光影效果，而西斯莱则是为了肯定教堂在他的画作中所捕捉到的不同的光线和气氛变化下的永恒性质。在印象派画家中，他最热衷于在户外工作，而不返回工作室进行修改或润色。沉默寡言的西斯莱一如既往地创作他的《大教堂》，完全是在户外进行创作，通过一系列的大气变化来展示一个主题的变化外观。他给这些作品取名为 "阳光下"、"霜冻下 "和 "雨中"，并在1894年的火炬沙龙上作为一组作品展出，这表明他也认为这些作品是系列化的诠释。

西斯莱经常因其温和的正直和呈现真实气氛和色调的能力而被人称道，但他也有能力创作出结构强大的作品，并擅长从不寻常的角度描绘场景，使其作品充满活力。毫不奇怪，《L'Église de Moret, le Soir 》提供了一个很好的例子，说明西斯莱如何将他的画架设置得非常有利。他的视线略微向上倾斜，但决定性地指向西南门廊的角落。这种捆绑式的柱状特征强调了教堂主题的气势和向上的推力。但这里真正的艺术性在于，它起到了中心的作用，两股紧张的力量从这里相互拉开，而且令人惊讶的是，这股力量是相称的。这幅画的精彩之处在于左边狭窄的街道（Rue de l'Église）所创造的俯冲视角的戏剧性效果，以及模糊的对立面提供了一个难以想象的重量和质量的石头结构；这两个方面都是平面的，漂亮地展示了完美起草的三点递减视角。

在西斯莱为莫雷特教堂所画的十几幅油画中，《莫雷特教堂》（L'Église de Moret, le Soir ）不仅尺寸巨大，也是他整个作品中最大的画作之一。这幅作品的规模表明，西斯莱决心创作一幅充分尊重建筑师和建设者的作品，这个建筑是如此坚不可摧和坚定，当西斯莱画它的时候，它和中世纪时期一样，今天为我们矗立，就像它将持续到永远。 

询问

艺术细节

返回

阿尔弗雷德·西斯利恩（1839-1899）

艺人简介 查询
 
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. 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.
莫雷特教堂，晚报189431 1/4 x 39 1/2 in.(81.28 x 100.33 cm)油画布
种源
西斯利庄园
出售。Sisley工作室拍卖会，Georges Petit巴黎画廊，1899年5月1日，拍品13。
乔治-维阿乌，巴黎
拍卖会。巴黎Drouot酒店，1908年2月20日，拍品37
皮尔逊收藏，巴黎（在上述拍卖中获得）
拍卖会。皮尔逊拍卖会，柏林保罗-卡西尔画廊，1927年10月18日，拍品65
私人收藏
拍卖会德鲁奥酒店，巴黎，1928年6月23日，拍品98
奥贝尔收藏，巴黎（在上述拍卖会上购买；可能是马塞尔-奥贝尔）。
私人收藏 爱德华-纳姆画廊
S...更。。。teven Bedowitz，佛罗里达州博卡拉顿（1989年获得）。
私人收藏， 纽约
拉里-拉塞尔特，达拉斯（1991年获得）。
私人收藏（1996年获得）
展会信息
东京，伊势丹美术馆；香川，高松市立美术馆；广岛，美术馆和和歌山，现代艺术部门博物馆，阿尔弗雷德-西斯莱博览会，2000年，编号：53。53，彩色插图页。138-139
文学
O.Reuterswaerd，"Sisley的大教堂，对Moret教堂的研究"，载于《Gazette des Beaux Arts》，1952年3月，图1，第194页有说明。
F.Daulte, Alfred Sisley.绘画作品目录》，洛桑，1959年，第835号，有黑白插图。
F.Daulte, Sisley.Les Saisons》，巴黎，1992年，编号。41，彩色插图第73页
R.Shone, Sisley, New York, 1992, pl. 134, p. 170的彩色插图(提到pp. 164-165)
Brame, S., Sisley, A., Lorenceau, F., & Daulte, O. (2021).阿尔弗雷德-西斯利：绘画和粉笔画的评论目录。P. 347 ill.347, 501
...少。。。
在法兰西岛和勃艮第之间，枫丹白露森林的边缘，坐落着12世纪建立的中世纪村庄--洛宁河畔莫尔特。当阿尔弗雷德-西斯莱在1881年8月31日的信中向莫奈描述它的特点时，说它是 "一个巧克力盒式的风景...... "他的意思是说它是一个诱人的纪念品；它的堡垒、城墙、教堂、坚固的大门以及沿河的华丽外墙，对于一个画家来说，是一个无与伦比的魅力环境。古老的教堂总是塞纳河流域最引人注目的城镇景观，它在西斯莱的城镇景观视图中是一个存在，就像它对柯罗和莫奈在韦特伊一样。但与莫奈不同的是，莫奈对鲁昂大教堂的三十幅作品是为了追踪大教堂正面的光影游戏，并捕捉光线和气氛的瞬间变化的短暂性质，西斯莱则是为了确认莫雷-苏-洛林的圣母教堂的永久性质。 莫奈唯一关注的是空气和光线，而西斯莱的作品似乎是一个致敬的纪念品。这幅画散发着对最初的建筑师和建设者的尊重，这个结构是如此坚不可摧和坚决，它当时就像在那些中世纪时代一样屹立不倒，对我们来说，它今天也会像以前一样，永远屹立不倒。

尽管如此，西斯莱努力通过一系列的大气变化来展示图案的变化外观。他给这些作品取名为 "阳光下"、"霜冻下 "和 "雨中"，并在1894年的 "火炬沙龙 "上作为一组作品展出，这些因素表明他认为这些作品是连续的诠释。然而，与莫奈的作品不同，《L'église de Moret, le Soir》显示，西斯莱选择在一个空间背景下展示这个主题，以突出其构图属性--左边狭窄街道的俯视视角，右边建筑线条的强烈对角线衰退作为平衡，以及视线上方石质建筑的威严。
返回
询问

补充阅读

弗里塞克和莫奈

通过弗雷德里克-弗里塞克（Frederick Frieseke）的《吉维尼的小山》，了解法国和美国印象派画家之间的对话。

Ansel Adams：对生命的肯定

希瑟-詹姆斯对安塞尔-亚当斯的摄影作品进行了一次亲密的检查....

克劳德-莫奈 最近售出的作品

莫奈和他的作品是我们Heather James Fine Art的专长，在过去的时间里已经卖出了几十幅他的画作。

2023年3月的艺术市场

Heather James Fine Art的联合创始人Jim Carona讨论了艺术市场的弹性，并提供了对投资的洞察力。

艺术市场的复原力

Heather James Fine Art的联合创始人Jim Carona回顾了艺术市场在以前的经济衰退期的表现...

艺术作为一种投资

艺术品被列为2022年的最佳赌注之一。请看我们对艺术作为资产的深入分析，在您的...

理查德-普林斯和牛仔

理查德-普林斯的《无题（牛仔）》系列推动了作者身份和真实性的界限，以一个符号为中心。

发现波普艺术--沃霍尔到蒂博德

波普艺术利用不同的媒体和流行文化作为对大众媒体、大规模生产和...

Marsden Hartley - 美国现代主义

在第一批伟大的美国现代主义画家中，马斯登-哈特利接受了抽象主义，并从其作品中汲取灵感。

Jan van Goyen和Salomon van Ruysdael的风景画作品

在荷兰黄金时代最著名和最知名的风景画家中，有扬-凡-戈扬和萨洛蒙-凡-戈扬。