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34-532: The work of the Düsseldorf School is characterized by finely detailed yet fanciful landscapes, often with religious or allegorical stories set in the landscapes. Major members of the Düsseldorf School advocated " plein air painting", and tended to use a palette with relatively subdued and even colors. The Düsseldorf School derived from and was a part of the German Romantic movement . Prominent members of

68-482: A few brief trips to Britain. The first of these occurred in 1874, after the first independent Impressionist exhibition. The result of a few months spent south-west of London was a series of nearly twenty paintings of the non-tidal Thames at East Molesey and below its Hampton Court Bridge where the south bank becomes Thames Ditton which was later described by art historian Kenneth Clark as "a perfect moment of Impressionism." Until 1880, Sisley lived and worked in

102-743: A group of Italian painters active in Tuscany in the second half of the nineteenth century, who, breaking with the antiquated conventions taught by the Italian academies of art, did much of their painting outdoors in order to capture natural light, shade, and colour. This practice relates the Macchiaioli to the French Impressionists who came to prominence a few years later, although the Macchiaioli pursued somewhat different purposes. Their movement began in Florence in

136-421: A predetermined look. The theory of 'En plein air' painting is credited to Pierre-Henri de Valenciennes (1750–1819), first expounded in a treatise entitled Reflections and Advice to a Student on Painting, Particularly on Landscape (1800), where he developed the concept of landscape portraiture by which the artist paints directly onto canvas in situ within the landscape. It enabled the artist to better capture

170-551: A series of paintings of the River Thames , mostly around Hampton Court , executed in 1874, and landscapes depicting places in or near Moret-sur-Loing . The notable paintings of the Seine and its bridges in the former suburbs of Paris are like many of his landscapes, characterised by tranquillity, in pale shades of green, pink, purple, dusty blue and cream. Over the years Sisley's power of expression and colour intensity increased. Sisley

204-569: A van in Marseilles). A large number of fake Sisleys have been discovered. Sisley produced some 900 oil paintings, some 100 pastels and many other drawings. During the Nazi period (1933–1945) a number of Sisley works were taken from Jewish art collectors by Nazis or their agents as part of the massive looting of Jews that preceded the Holocaust. On 18 June 2004 Sisley's Soleil de printemps, le Loing (1892)

238-480: Is known about Sisley's relationship with the paintings of J. M. W. Turner and John Constable , which he may have seen in London, but some have suggested that these artists may have influenced his development as an Impressionist painter, as may have Gustave Courbet and Jean-Baptiste-Camille Corot . He was inspired by the style and subject matter of previous modern painters Camille Pissarro and Edouard Manet . Among

272-802: The Art Institute of Chicago , and The Bridge at Moret-sur-Loing , shown at Musée d'Orsay , Paris. Allée des peupliers de Moret ( The Lane of Poplars at Moret ) has been stolen three times from the Musée des Beaux-Arts in Nice – once in 1978 when on loan in Marseilles (recovered a few days later in the city's sewers), again in 1998 (when the museum's curator was convicted of the theft and jailed for five years with two accomplices), and finally in August 2007 (on 4 June 2008 French police recovered it and three other stolen paintings from

306-797: The Café Guerbois , the gathering-place of many Parisian painters. In 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success; nor did subsequent exhibitions. In 1870, the Franco-Prussian War began; as a result, Sisley's father's business failed, and the painter's sole means of support became the sale of his works. For the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons, and this allowed him, among other things, to make

340-648: The Realism of Gustave Courbet and the Barbizon school. It was radical practise at its inception, but by the later decades of the 19th-century the theory had been absorbed into normal artistic practise. There were artists' colonies across France, such as the one at Étaples on the Côte d'Opal that included landscape impressionists Eugène Chigot and Henri Le Sidaner . The latter artist specialised in translating nocturne light to canvas using oil and pastel. The Macchiaioli were

374-536: The 1880s and 1890s, Arthur Streeton , Frederick McCubbin , Tom Roberts and other members of the Heidelberg School of Australian impressionism were also committed plein airists . In Canada in the 1920s, the Group of Seven and Tom Thomson are examples of en plein air advocates. Alfred Sisley Alfred Sisley ( / ˈ s ɪ s l i / ; French: [sislɛ] ; 30 October 1839 – 29 January 1899)

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408-949: The Düsselorf School included von Schadow, Karl Friedrich Lessing , Johann Wilhelm Schirmer , Andreas Achenbach , Hans Fredrik Gude , Adolph Tidemand , Oswald Achenbach , and Adolf Schrödter . The Düsseldorf School had a significant influence on the Hudson River School in the United States, and many prominent Americans trained at the Düsseldorf Academy and show the influence of the Düsseldorf School, including George Caleb Bingham , David Edward Cronin , Eastman Johnson , Worthington Whittredge , Richard Caton Woodville , William Stanley Haseltine , James McDougal Hart , Helen Searle , and William Morris Hunt , as well as German émigré Emanuel Leutze . Albert Bierstadt applied but

442-541: The Hudson River Valley in New York. The act of outdoor painting from observation has been continually popular well into the 21st century. It was during the mid-19th century that the 'box easel', typically known as the 'French box easel' or 'field easel' , was invented. It is uncertain who developed it, but these highly portable easels with telescopic legs and built-in paint box and palette made it easier to go into

476-662: The Impressionists, Sisley has been overshadowed by Monet, whose work his resembles in style and subject matter, although Sisley's effects are more subdued. Described by art historian Robert Rosenblum as having "almost a generic character, an impersonal textbook idea of a perfect Impressionist painting", his work strongly invokes atmosphere, and his skies are always impressive. He concentrated on landscape more consistently than any other Impressionist painter. Among Sisley's best-known works are Street in Moret and Sand Heaps , both owned by

510-591: The Osborne Hotel at Langland Bay on the Gower Peninsula , where he produced at least eleven oil paintings in and around Langland Bay and Rotherslade (then called Lady's Cove). They returned to France in October. This was Sisley's last voyage to his ancestral homeland. The National Museum Cardiff possesses two of his oil paintings of Penarth and Langland. The following year Sisley applied for French citizenship, but

544-434: The academic artist Charles Gleyre . They discovered that they shared an interest in painting landscape and contemporary life, and they often ventured into the countryside together to paint in the open air. They discovered that they could paint in sunlight directly from nature, and making use of the vivid synthetic pigments that were available, they began to develop a lighter and brighter manner of painting that extended further

578-491: The annual Salon . During the 1860s, though, Sisley was in a better financial position than some of his fellow artists, as he received an allowance from his father. In 1866, Sisley began a relationship with Eugénie Lescouezec (1834–1898; usually known as Marie Lescouezec), a Breton living in Paris. The couple had two children: son Pierre (born 1867) and daughter Jeanne (1869). At the time, Sisley lived not far from Avenue de Clichy and

612-524: The changing details of weather and light. The invention of portable canvases and easels allowed the practice to develop, particularly in France, and in the early 1830s the Barbizon school of painting in natural light was highly influential. Amongst the most prominent features of this school were its tonal qualities, colour, loose brushwork, and softness of form. These were variants that were particularly relevant to

646-411: The country west of Paris; then he and his family moved to a small village near Moret-sur-Loing , close to the forest of Fontainebleau , where the painters of the Barbizon school had worked earlier in the century. Here, as art historian Anne Poulet has said, "the gentle landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of

680-412: The forest and up the hillsides. Still made today, they remain a popular choice (even for home use) since they fold up to the size of a brief case and thus are easy to store. The Pochade Box is a compact box that allows the artist to keep all their supplies and palette within the box and have the work on the inside of the lid. Some designs allow for a larger canvas which can be held by clamps built into

714-685: The late 1850s. In England the Newlyn School was also a major proponent of the technique in the latter 19th century. There were lesser known artist colonies practising, including a loose collective at Amberley in West Sussex centred around the Paris trained Edward Stott who produced atmospheric rural landscapes that were highly popular among some late Victorians. The movement expanded to America, starting in California then moving to other American locales notable for their natural light qualities, including

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748-422: The lid. There are designs which can also hold a few wet painting canvases or panels within the lid. These boxes have a rising popularity as while they are mainly used for plein air painting, they can also be used in the studio, home, or classroom. Since pochade boxes are mainly used for painting on location, the canvas or work surface may be small, usually not more than 20 inches (50 cm). Challenges include

782-433: The mid 19th-century Hudson River School and to Impressionism . Before the 19th century, artists had mixed their own paints from raw pigments that they often ground themselves from a variety of media . This had made for inconvenient portability and kept most painting activities confined to the studio. However, in the 1830s, the Barbizon school in France that included Charles-François Daubigny and Théodore Rousseau used

816-543: The practice of en plein air to depict the changing appearance of light accurately as weather conditions altered. This situation improved later in the 1800s when tubes of oil paint became available, allowing En plein air painting to become viable for more artists. This was in part because of the invention of the collapsible paint tube in 1841 by American portraitist John G. Rand . In the early 1860s, four young painters: Claude Monet , Pierre-Auguste Renoir , Alfred Sisley and Frédéric Bazille , met whilst studying under

850-492: The rampaging ocean or the brilliantly colored scenery of the Côte d'Azur ." In 1881, Sisley made a second brief voyage to Great Britain . In 1897, Sisley and his partner visited Britain again, and were finally married in Wales at Cardiff Register Office on 5 August. They stayed at Penarth , where Sisley painted at least six oils of the sea and the cliffs. In mid-August they moved to

884-859: The second half of the 19th century and beginning of the 20th century in Russia, painters such as Vasily Polenov , Isaac Levitan , Valentin Serov , Konstantin Korovin and I. E. Grabar were known for painting en plein air . In the late 19th century, plein air painting was not limited to the Old World . American impressionists too, such as those of the Old Lyme school, were avid painters en plein air . American impressionist painters noted for this style during this era included Guy Rose , Robert William Wood , Mary DeNeale Morgan, John Gamble, and Arthur Hill Gilbert . In Australia in

918-419: The studio, in order to capture the transient effects of sunlight realistically. This approach, innovative at the time, resulted in paintings more colourful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work. Their works were usually rejected by the jury of the most important art exhibition in France,

952-474: The type of paint used to paint outdoors, animals, bugs, onlookers, and environmental conditions such as weather. Acrylic paint may harden and dry quickly in warm, sunny weather, and it cannot be reused. On the opposite side of the spectrum is the challenge of painting in moist or damp conditions with precipitation. The advent of plein air painting predated the invention of acrylics. The traditional and well-established method of painting en plein air incorporates

986-500: The use of oil paint. French impressionist painters such as Claude Monet , Camille Pissarro , Alfred Sisley , and Pierre-Auguste Renoir advocated plein air painting, and much of their work was done outdoors in the diffuse light of a large white umbrella. Claude Monet was an avid en plein air artist who deduced that to seize the closeness and likeness of an outside setting at a specific moment one had to be outside to do so rather than just paint an outside setting in their studio. In

1020-425: Was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting landscape en plein air (i.e., outdoors). He deviated into figure painting only rarely and, unlike Renoir and Pissarro , he found that Impressionism fulfilled his artistic needs. Among his important works are

1054-625: Was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, and his mother, Felicia Sell, was a cultivated music connoisseur. In 1857, at the age of 18, Alfred Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. From 1862, he studied at the Paris École des Beaux-Arts within the atelier of Swiss artist Marc-Charles-Gabriel Gleyre , where he became acquainted with Frédéric Bazille , Claude Monet , and Pierre-Auguste Renoir . Together they would paint landscapes en plein air rather than in

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1088-542: Was not accepted. His American friend Worthington Whittredge became his teacher while attending Düsseldorf. Between 1819 and 1918, some 4000 artists belonged to the Düsseldorf school of painting, including: [REDACTED] Category Plein air En plein air ( pronounced [ɑ̃ plɛ.n‿ɛʁ] ; French for 'outdoors'), or plein-air painting, is the act of painting outdoors. This method contrasts with studio painting or academic rules that might create

1122-531: Was refused. A second application was made and supported by a police report, but illness intervened, and Sisley remained a British national until his death. He died on 29 January 1899 of throat cancer in Moret-sur-Loing at the age of 59, a few months after the death of his wife. Sisley's student works are lost. His first landscape paintings are sombre, coloured with dark browns, greens, and pale blues. They were often executed at Marly and Saint-Cloud . Little

1156-592: Was restored to the family of Louis Hirsch, in a ceremony in Paris. In 2008 a dispute erupted between Alain Dreyfus, an art dealer in Switzerland, and the auction house Christie's over a Sisley painting First Day of Spring in Moret , that was claimed by the Lindon family in court in Paris. Dreyfus said that Christie's had not sufficiently examined the work's history, or provenance, before putting it up for sale. Also in 2008,

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