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阿尔弗雷德·西斯利恩（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.
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。。。
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"我总是从天空开始作画"。- 阿尔弗雷德-西斯莱

历程

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、坚固的大门和沿河的华丽外墙，对于一个画家来说，是一个无与伦比的魅力的环境。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30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筑商的尊重，这个结构是如此坚不可摧和坚定，它在当时就像在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，西斯莱还是努力通过一系列的气氛变化来展示主题的变化外观。他给这些作品起了 "阳光下"、"霜冻下"、"雨中 "等标题，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系列化的演绎。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斜向衰退作为平衡，以及视线上方石质建筑的气势。

询问
  • Sisley39199_history1
    Alfred Sisley
  • Sisley39199_history2
    Jean-Baptiste-Camile Corot，"Moret sur Loing, le pont et l'eglise"，1822年，私人收藏
  • 茜茜39199_历史3
    克劳德-莫奈，"鲁昂大教堂，西面"，1894年，国家艺术馆，华盛顿特区。
  • 茜茜39199_历史4
    阿尔弗雷德-西斯莱，"莫雷特桥，效果图"，1887年，拉阿弗尔马尔罗博物馆。
  • Sisley39199_history5
    莫雷特-罗因的明信片，北端圣母教堂
  • Sisley39199_history6
    莫雷特河畔的明信片，教堂街（La rue de l'Eglise）。
  • Sisley39199_history7
    阿尔弗雷德-西斯利，《晚霞中的教堂》，1894年，鲁昂美术博物馆，鲁昂，法国
  • Sisley39199_history8
    塞纳河与马恩河畔的莫雷特圣母院（Eglise Notre Dame de Moret-sur-Loing）。
"每一幅画都显示了艺术家爱上的一个点。"- Alfred Sisley

市场情报

  • Sisley39199_insights
  • 西斯莱画作的拍卖 价格记录 超过900万美元，由一幅明显小于 《L'église de Moret, le Soir》的冬季风景画在2017年创造。
  • 现存的西斯利的油画作品只有884幅，而且很多都是博物馆的永久收藏品，很少有优秀的大型作品可以用于私人销售。
  • L'église de Moret, le Soir与其他西斯莱的作品相比特别大，而且自1996年以来一直属于同一个私人收藏，增加了其价值。
  • 它的右下角有 "Sisley 94 "的 签名，在Sisley目录中也有记载 （F. Daulte，洛桑，1959年，第835号，有黑白照片）。
  • 描绘了莫雷特的圣母院教堂，这是 西斯莱自1889年在莫雷特定居以来近十次 重新审视的重要 主题。
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同类拍卖的画作

布面油画，21 1/4 x 25 3/8 英寸。在伦敦苏富比出售：2017年3月1日。

"Effet de Neige à Louveciennes"（1874年）以9,064,733美元成交。

布面油画，21 1/4 x 25 3/8 英寸。在伦敦苏富比出售：2017年3月1日。
  • 较小的画作，色调柔和，但有美丽的阴影
  • 罕见的冬季场景
  • 在2017年的拍卖会上创造了西斯利的价格纪录
布面油画，20 1/8 x 25 3/4英寸，在纽约苏富比拍卖会上出售：2014年11月4日。

"Le loing à Moret"（1883年）以4,869,000美元成交。

布面油画，20 1/8 x 25 3/4英寸，在纽约苏富比拍卖会上出售：2014年11月4日。
  • 比我们的作品小得多
  • 完成度不高，没有数字
  • 美丽的光线和调色板
布面油画，25 5/8 x 36 1/8英寸。在伦敦苏富比售出：2008年2月5日。

"Moret-sur-Loing"（1891年），售价4,685,031美元。

布面油画，25 5/8 x 36 1/8英寸。在伦敦苏富比售出：2008年2月5日。
  • 像这幅和我们这幅一样的大型西斯莱画作很罕见，也更有价值
  • 八年前以超过460万美元的价格售出，而市场也在不断发展。
布面油画，28 7/8 x 36 5/8英寸。在伦敦苏富比售出：2007年2月5日。

"Le loing à Moret, en été"（1891年）以5,746,135美元成交。

布面油画，28 7/8 x 36 5/8英寸。在伦敦苏富比售出：2007年2月5日。
  • 几年前的另一幅大画
  • 像我们的画一样，它包括一个人物，这增加了价值

博物馆收藏的画作

"晨曦中的莫雷特教堂"（1893），布面油画，26 x 32英寸。

鲁昂美术博物馆

"晨曦中的莫雷特教堂"（1893），布面油画，26 x 32英寸。
"晨曦中的教堂"（1893年），布面油画，39 3/8 x 33 1/4英寸。

艺术博物馆，温特图尔，瑞士

"晨曦中的教堂"（1893年），布面油画，39 3/8 x 33 1/4英寸。
"雨后的莫雷特教堂》（1894年），布面油画，28 3/4 x 23 3/4英寸。

底特律艺术学院

"雨后的莫雷特教堂》（1894年），布面油画，28 3/4 x 23 3/4英寸。
"莫雷特的教堂（晚上）"（1894年），布面油画，39 3/4 x 32 1/4英寸。

巴黎小皇宫

"莫雷特的教堂（晚上）"（1894年），布面油画，39 3/4 x 32 1/4英寸。
"L'église de Moret-sur-Loing, temps de pluie le matin" (1894), 布面油画, 26 x 32 in.

格拉斯哥大学Hunterian艺术馆

"L'église de Moret-sur-Loing, temps de pluie le matin" (1894), 布面油画, 26 x 32 in.
"我喜欢所有那些热爱和对自然有强烈感受的画家"。- 阿尔弗雷德-西斯莱

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西斯利和莫奈的大教堂画作

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