What do you think?
Rate this book
Delphi Collected Works of Alfred Sisley (Illustrated)
The English artist Alfred Sisley was a founding member of Impressionism — one of the most important movements of the modern age. His landscapes are celebrated for their subtlety and quiet variety, offering some of the finest canvases of all nineteenth-century art. His frank and sincere character is present in all of his paintings, noted for their perfection of tone, polished composition and variety of handling. Although he has been overshadowed by his more famous colleagues, he produced landscapes that strongly invoke a powerful sense of atmosphere, with impressive skies and an important understanding of the compositional features for balanced expression. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Sisley’s collected paintings in beautiful detail, with concise introductions and hundreds of high quality images. (Version 1)* The collected paintings of Alfred Sisley – over 400 images, fully indexed and arranged in chronological and alphabetical order* Includes reproductions of many rare works* Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information* Enlarged ‘Detail’ images, allowing you to explore Sisley’s celebrated works in detail, as featured in traditional art books* Hundreds of images in colour – highly recommended for viewing on tablets and smartphones or as a valuable reference tool on more conventional eReaders* Special chronological and alphabetical contents tables for the paintings* Easily locate the artworks you wish to HighlightsVillage Street in Marlotte (1866)View of Montmartre from the cité des Fleurs (1869)Footbridge at Argenteuil (1872)Chemin de la Machine, Louveciennes (1873)Foggy Morning, Voisins (1874)The Lesson (1874)Under the Bridge at Hampton Court (1874)Snow at Louveciennes (1875)View of Marly-le-Roi, Sunshine (1876)Flood at Port Marly (1876)Station at Sèvres (c. 1879)Small Meadows in Spring, at By (c. 1881)The Canal at Saint-Mammès (1885)The Church at Moret in Morning Sun (1893)Langland Bay, Storr’s Rock — Morning (1897)The PaintingsThe Collected PaintingsAlphabetical List of Paintings
539 pages, Kindle Edition
Published October 7, 2021
14 people are currently reading
6 people want to read
About the author
Peter Russell
284 books79 followersPeter Russell M.A., D.C.S., is a British author of ten books and producer of three films on consciousness, spiritual awakening and their role in the future development of humanity. He has designed and taught personal development programs for businesses, and has remained a popular public speaker.
In 1965 he was awarded an Open Exhibition to Gonville and Caius College, Cambridge, to study Mathematics. In 1969, he gained a First Class Honours in Theoretical Physics and Experimental Psychology. He then went to Rishikesh, India, where he trained as a teacher of Transcendental Meditation under Maharishi Mahesh Yogi. In 1971, he gained a post-graduate degree in Computer Science. From 1971 to 1974, he studied for a Ph.D. on the psychophysiology of meditation at Bristol University.
In 1965 he was awarded an Open Exhibition to Gonville and Caius College, Cambridge, to study Mathematics. In 1969, he gained a First Class Honours in Theoretical Physics and Experimental Psychology. He then went to Rishikesh, India, where he trained as a teacher of Transcendental Meditation under Maharishi Mahesh Yogi. In 1971, he gained a post-graduate degree in Computer Science. From 1971 to 1974, he studied for a Ph.D. on the psychophysiology of meditation at Bristol University.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 of 1 review
July 18, 2022
I absolutely love Sisley’s paintings! I find him just as wonderful as his contemporaries, Monet and Van Gogh. His sad history between his father and himself after his marriage!
“One of the principal founders of French Impressionism, Alfred Sisley was born in Paris on 30 October 1839 to English parents. His father, William Sisley, was a prosperous textiles businessman, originally based in London, but who spent much of his career in Paris. His wife (and cousin) Felicia Sell was the daughter of a saddler from Lydd in Kent. The parents were in fact descended from successful smugglers, having lived in their youth at Romney Marsh, an area of Kent infamous for its smuggling traffic from the Continent. Surely Sisley must be the least known of all the Impressionists. There are few surviving eye witness accounts, hardly any letters, three photographs and the few documents that have survived concerning him seem to contradict themselves. There is even a period of years that remain a mystery as to his activities. This absence of biographical detail is partly due to Sisley’s shy and withdrawn character, which became more pronounced in later years. Since his death he has suffered critical neglect and has been too easily dismissed as a painter of charming snow scenes and floods It appears that in the autumn of 1860, Sisley took a decisive step in the pursuit of a life as an artist, when he entered the studio of Charles Gleyre, having persuaded his wealthy parents to allow him to study painting, abandoning his work in commerce. Charles Gleyre (1806-1874) was a Swiss artist, who had been a resident in France from an early age. He had taken over the studio of Paul Delaroche in 1843, when he taught a number of students that would become prominent artists, including George du Maurier, Monet, Toulmouche and Whistler. Ever mindful his own early years of poverty in Paris, Gleyre had waived aside teaching fees for the students at his atelier in the rue Vaugirard. Gleyre was no great pioneer, favouring academic doctrine, but he gained the affectionate respect from his students and peers for his independent views and tolerant attitude. More importantly, he encouraged the study en plein air (out of doors painting) and enjoyed painting landscapes, although he often advised that it was not the right subject on which to found a career. Ironically, two of his students — Monet and Sisley — were destined to become two of the greatest practitioners of landscape art in the nineteenth century Unlike his friends Renoir and Monet, Sisley was financially secure, bolstered by a generous allowance from his father, whose business was thriving. Renoir recalls Sisley at this time as having a marked “gentleness” of his disposition, quiet good manners and vivacious humour. Renoir later told his son Jean: ‘Sisley was a delightful human being… who could never resist a petticoat! We would be walking along a street, talking about the weather or something insignificant, and suddenly he would disappear! Then I would find him at his old game of flirting!’ In 1866 Sisley formed a romantic attachment to a young florist, Eugénie Lescouezec (1834-98). His father appears to have disapproved of this relationship and withdrew his financial support. The following year, Eugénie gave birth to a son, Pierre, and, two years later to a daughter, Jeanne. Now, with the mounting expense of bringing up two children and no aid from the parental home, Sisley could no longer consider himself as the affluent young man that liked to dabble in art. He moved his young family into a house at Bougival, located by the Seine, west of Paris. The siege of the capital in the Franco-Prussian War of 1870 resulted in Bougival being overrun and the artist lost all of his possessions, including many of his early canvases, partly explaining for the lack of works from this period. There appears to have been no contact between the father and son and the former died soon after the conflict, leaving almost nothing to the latter. Suddenly, Sisley was as penniless as his friends Renoir and Monet and so was now compelled to rely on his work to provide for his family. When back in France in 1898 Sisley discovered that he was suffering from cancer of the throat. Tragedy struck when his wife died of cancer of the tongue shortly after the artist received his own diagnosis. Pissarro informs us that Sisley was a devoted husband, looking after Eugénie tirelessly, as she lay in her chair trying to rest. In time Sisley’s own health dwindled until he was scarcely able to turn his head and was no longer able to work. In January 1899 he sent for Monet, asking him to take care of his children and on 29 January 1899, a week later, Sisley died. He was buried in Moret cemetery, where Monet and Renoir attended the funeral. Save for Pissarro, Sisley was the least travelled of the original Impressionist group, making only three trips back to Britain. Hewas very much a grounded artist, who liked to remain in the same area for long periods of time. His landscapes are celebrated for their subtlety and quiet variety, revealing Sisley’s strong attachment to the places that he had chosen to make his home. Rather than explore new subjects on a frequent basis, he was more interested in exploring effects of atmosphere, light and overall ambience. Without the ambitious nature of Monet and Renoir, Sisley liked to work on the smaller scale, though he is recognised today for producing some of the finest landscapes of nineteenth-century art.”
“One of the principal founders of French Impressionism, Alfred Sisley was born in Paris on 30 October 1839 to English parents. His father, William Sisley, was a prosperous textiles businessman, originally based in London, but who spent much of his career in Paris. His wife (and cousin) Felicia Sell was the daughter of a saddler from Lydd in Kent. The parents were in fact descended from successful smugglers, having lived in their youth at Romney Marsh, an area of Kent infamous for its smuggling traffic from the Continent. Surely Sisley must be the least known of all the Impressionists. There are few surviving eye witness accounts, hardly any letters, three photographs and the few documents that have survived concerning him seem to contradict themselves. There is even a period of years that remain a mystery as to his activities. This absence of biographical detail is partly due to Sisley’s shy and withdrawn character, which became more pronounced in later years. Since his death he has suffered critical neglect and has been too easily dismissed as a painter of charming snow scenes and floods It appears that in the autumn of 1860, Sisley took a decisive step in the pursuit of a life as an artist, when he entered the studio of Charles Gleyre, having persuaded his wealthy parents to allow him to study painting, abandoning his work in commerce. Charles Gleyre (1806-1874) was a Swiss artist, who had been a resident in France from an early age. He had taken over the studio of Paul Delaroche in 1843, when he taught a number of students that would become prominent artists, including George du Maurier, Monet, Toulmouche and Whistler. Ever mindful his own early years of poverty in Paris, Gleyre had waived aside teaching fees for the students at his atelier in the rue Vaugirard. Gleyre was no great pioneer, favouring academic doctrine, but he gained the affectionate respect from his students and peers for his independent views and tolerant attitude. More importantly, he encouraged the study en plein air (out of doors painting) and enjoyed painting landscapes, although he often advised that it was not the right subject on which to found a career. Ironically, two of his students — Monet and Sisley — were destined to become two of the greatest practitioners of landscape art in the nineteenth century Unlike his friends Renoir and Monet, Sisley was financially secure, bolstered by a generous allowance from his father, whose business was thriving. Renoir recalls Sisley at this time as having a marked “gentleness” of his disposition, quiet good manners and vivacious humour. Renoir later told his son Jean: ‘Sisley was a delightful human being… who could never resist a petticoat! We would be walking along a street, talking about the weather or something insignificant, and suddenly he would disappear! Then I would find him at his old game of flirting!’ In 1866 Sisley formed a romantic attachment to a young florist, Eugénie Lescouezec (1834-98). His father appears to have disapproved of this relationship and withdrew his financial support. The following year, Eugénie gave birth to a son, Pierre, and, two years later to a daughter, Jeanne. Now, with the mounting expense of bringing up two children and no aid from the parental home, Sisley could no longer consider himself as the affluent young man that liked to dabble in art. He moved his young family into a house at Bougival, located by the Seine, west of Paris. The siege of the capital in the Franco-Prussian War of 1870 resulted in Bougival being overrun and the artist lost all of his possessions, including many of his early canvases, partly explaining for the lack of works from this period. There appears to have been no contact between the father and son and the former died soon after the conflict, leaving almost nothing to the latter. Suddenly, Sisley was as penniless as his friends Renoir and Monet and so was now compelled to rely on his work to provide for his family. When back in France in 1898 Sisley discovered that he was suffering from cancer of the throat. Tragedy struck when his wife died of cancer of the tongue shortly after the artist received his own diagnosis. Pissarro informs us that Sisley was a devoted husband, looking after Eugénie tirelessly, as she lay in her chair trying to rest. In time Sisley’s own health dwindled until he was scarcely able to turn his head and was no longer able to work. In January 1899 he sent for Monet, asking him to take care of his children and on 29 January 1899, a week later, Sisley died. He was buried in Moret cemetery, where Monet and Renoir attended the funeral. Save for Pissarro, Sisley was the least travelled of the original Impressionist group, making only three trips back to Britain. Hewas very much a grounded artist, who liked to remain in the same area for long periods of time. His landscapes are celebrated for their subtlety and quiet variety, revealing Sisley’s strong attachment to the places that he had chosen to make his home. Rather than explore new subjects on a frequent basis, he was more interested in exploring effects of atmosphere, light and overall ambience. Without the ambitious nature of Monet and Renoir, Sisley liked to work on the smaller scale, though he is recognised today for producing some of the finest landscapes of nineteenth-century art.”
Displaying 1 of 1 review