Alfred Sisley (1839-1899)
PROPERTY FROM THE COLLECTION OF RUTH AND HARVEY KAPLAN
Alfred Sisley (1839-1899)

Près de Moret-Sur-Loing

Details
Alfred Sisley (1839-1899)
Près de Moret-Sur-Loing
signed 'Sisley.' (lower left)
oil on canvas
21½ x 28 7/8 in. (54.6 x 73.3 cm.)
Painted in 1881
Provenance
Galerie Durand-Ruel et Cie., Paris (acquired from the artist, 31 October 1882).
Durand-Ruel Galleries, New York (acquired from the above, 15 April 1888).
Edwin V. Vogel, New York (acquired from the above, 10 November 1938).
Wildenstein & Co., Inc., New York.
Sam Salz Inc., New York.
Acquired from the above by the present owners, 13 October 1958.
Literature
F. Daulte, Alfred Sisley, catalogue raisonné de l'oeuvre peint, Lausanne, 1959, no. 449 (illustrated).
Exhibited
(possibly) New York, Durand-Ruel Galleries, Exposition, Works of Alfred Sisley, February-March 1899, no. 10.
(possibly) New York, Durand-Ruel Galleries, Exhibition of Paintings by Alfred Sisley, March-April 1905, no. 14 (titled Près Moret and incorrectly dated 1882).
(possibly) New York, Durand-Ruel Galleries, Paintings by Alfred Sisley, March 1908, no. 10 (incorrectly dated 1882).
(possibly) New York, Durand-Ruel Galleries, Exhibition of Paintings by Sisley, April 1912, no. 10 (incorrectly dated 1880).
Paris, Galerie Durand-Ruel et Cie., Tableaux de Sisley, February-March 1930, no. 39 (incorrectly dated 1880).
Paris, Durand-Ruel et Cie., Paysages par Claude Monet, Camille Pissarro, Renoir et Sisley, January 1933, no. 44.
Paris, Durand-Ruel et Cie., Exposition de tableaux par Alfred Sisley, 1840-1899, January-February 1937, no. 21.

Lot Essay

In the early 1880s Sisley began to frequent the vicinity around Moret-sur-Loing, a small town about twenty-five miles southeast of Paris, and in 1889 he settled there. The present painting depicts the river Loing from the north, most likely from the boatyard at Matrat.

Like Monet, Sisley was fascinated by the concept of executing compositions in a sequence, capturing the changing conditions of light and weather of a single motif at different times of the day and year. Here, he painted the town of Moret basked in sunlight, creating dramatic reflections in the river and along the riverbank. The expansive sky has been rendered in the palest of blues with wispy, striated clouds. The trees are full of leaves rendered in dabs of pink, brown, and gold. The river is a resplendent array of soft pinks, blues and earthy browns, capturing the reflection of the village's buildings and foliage along the horizon. The critic Adolphe Tavernier lauded Sisley in his funeral oration for the artist as "a magician of light, a poet of the heavens, of the waters, of the trees--in a word, one of the most remarkable landscapists of his day" (quoted in M. Stevens, ed., Alfred Sisley, exh. cat., Royal Academy of Arts, London, 1992, p. 28).

Sisley was so captivated by the picturesque town that after settling there about eight years after painting the present work, He tried to persuade his friend Monet to join him: "Moret is just two hours journey from Paris, and has plenty of places to let at six hundred to a thousand francs. There is a market once a week, a pretty church, and beautiful scenery round about. If you were thinking of moving, why not come and see?" (quoted in ibid., p. 184). Moret also provided Sisley with a rich array of landscape motifs, from the medieval church and the Porte de Bourgogne, to the stately avenues of poplars and the humble wash-houses on the banks of the Loing.

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