This is an incomplete list of the paintings by the British Impressionist artist Alfred Sisley, who was born to British parents in France, where he subsequently spent the majority of his life.
Image | Name | Year | Dimensions (cm) | Current Location | Ref |
---|---|---|---|---|---|
Fish on a Plate | 1865–67 | 45.72 × 55.88 | Virginia Museum of Fine Arts, Richmond | ||
Avenue of Chestnut Trees at La Celle-Saint-Cloud | 1865 | 129 x 208 | Petit Palais, Paris | ||
Avenue of Chestnut Trees at La Celle-Saint-Cloud | 1865 | 50.5 x 65.5 | Ordrupgaard | ||
Village Street in Marlotte | 1866 | 50 x 92 | Albright-Knox Art Gallery, Buffalo | ||
Avenue of Chestnut Trees at La Celle-Saint-Cloud | 1867 | 95.5 x 122.2 | Southampton Art Gallery | ||
The Pheasant | 1867 | 55 x 38 | Private collection | ||
View of Montmartre from Cité des Fleurs to Les Batignolles | 1869 | 70 x 116 | Museum of Grenoble | ||
Image | Name | Year | Dimensions (cm) | Current Location | Ref |
---|---|---|---|---|---|
View of the Canal Saint-Martin | 1870 | 50 x 65 | Musée d'Orsay, Paris | ||
Barges on the Canal Saint-Martin | 1870 | 55 X 74 | Oskar Reinhart Collection, Am Römerholz, Winterthur | ||
Early Snow at Louveciennes | 1871 | 54.9 x 73.7 | Museum of Fine Arts, Boston | ||
The Canal Saint-Martin | 1872 | 38 x 46.5 | Musée d'Orsay, Paris | ||
L'île Saint-Denis | 1872 | 50.5 x 65 | Musée d'Orsay, Paris | ||
Villeneuve-la-Garenne | 1872 | 59 x 80.5 | Hermitage Museum, St Petersburg, Russia | ||
The Bridge at Villeneuve-la-Garenne | 1872 | 49.5 x 65.4 | Metropolitan Museum of Art, New York | ||
Flood at Port Marly | 1872 | 46.4 x 61 | National Gallery of Art, Washington, D.C. | ||
Ferry to the Ile-de-la-Loge – Flood | 1872 | 45 x 60 | Ny Carlsberg Glyptotek, Copenhagen | ||
Drying Nets | 1872 | 42 x 65 | Kimbell Art Museum, Fort Worth | ||
The Kitchen Garden | 1872 | 50.2 x 65.7 | Kimbell Art Museum, Fort Worth | ||
The Grand-Rue in Argenteuil | 1872 | 65 x 46 | Norwich Castle | ||
Place d'Argenteuil | 1872 | 45 x 65 | Musée d'Orsay, Paris | ||
Boulevard Héloïse, Argenteuil | 1872 | 39.5 x 59.6 | National Gallery of Art, Washington, D.C. | ||
The Seine at Argenteuil | 1872 | 50 x 73 | Richard Bernhard Foundation | ||
The Seine at Argenteuil | 1872 | 46 x 65 | Private collection | ||
The Seine at Argenteuil | 1872 | 50 x 60.5 | Faure Museum (Aix-les-Bains) | ||
Footbridge at Argenteuil | 1872 | 39 x 60 | Musée d'Orsay, Paris | ||
A corner of Louveciennes | 1872 | 46 x 40 | Private collection | ||
Village at the edge of the wood | 1872 | 50 x 65 | Private collection | ||
Sentier de la mi-cote, Louveciennes | 1872 | 38 x 46.5 | Musée d'Orsay, Paris | ||
Watering Places at Marly | 1873 | 98.1 x 130.5 | Pola Museum of Art | ||
Landscape (Spring at Bougival) | c. 1873 | 40.6 x 57.2 | Philadelphia Museum of Art | ||
The Flood. Banks of the Seine, Bougival | 1873 | 50 x 65.5 | Ordrupgaard | ||
Frost in Louveciennes | 1873 | 46 x 61 | Pushkin Museum, Moscow | ||
A Turn in the Road | 1873 | 54.5 x 64.7 | Art Institute of Chicago | ||
l'île de la Grande Jatte | 1873 | 50.5 x 65.0 | Musée d'Orsay, Paris | ||
Boats at the Lock in Bougival | 1873 | 46 x 65 | Musée d'Orsay, Paris | ||
Chemin de la Machine, Louveciennes | 1873 | 54.5 x 73 | Musée d'Orsay, Paris | ||
Molesey Weir, Hampton Court | 1874 | 51.1 x 68.8 | Scottish National Gallery, Edinburgh | ||
Regatta at Hampton Court | 1874 | 46 x 61 | Foundation E.G. Bührle, Zürich | ||
Thames at Hampton Court | 1874 | 38 x 55.4 | Clark Art Institute, Williamstown | ||
The Thames at Hampton Court | 1874 | 66.4 x 91.8 | Museo Nacional de Bellas Artes (Buenos Aires) | ||
Road from Hampton Court | 1874 | 38 x 55 | |||
The Road to Hampton Court | 1874 | 38.8 x 55.8 | Neue Pinakothek, Munich | ||
The Thames with Hampton Church | 1874 | 50.5 x 68.5 | Private collection | ||
Regatta at Molesey | 1874 | 66 x 91.5 | Musée d'Orsay, Paris | ||
An Inn at Hampton Court | 1874 | 51 x 69 | Private collection | ||
Bridge at Hampton Court | 1874 | 46 x 61 | Wallraf-Richartz Museum, Cologne | ||
Under Hampton Court Bridge | 1874 | 50 x 76 | Kunstmuseum Winterthur | ||
View of the Thames: Charing Cross Bridge | 1874 | 33 x 46 | National Gallery, London | ||
The Fields | 1874 | ||||
The Church at Noisy-le-Roi, Autumn Effect | 1874 | 45.7 x 61 | Burrell Collection, Glasgow | ||
The Lesson | 1874 | 41.3 x 47 | Private collection | ||
The Village of Voisins | 1874 | 38 x 46.5 | Musée d'Orsay, Paris | ||
The Farm at Trou d'Enfer, Autumn Morning | 1874 | 45.8 x 60.5 | Private collection | ||
The Road to Louveciennes | 1874 | 38.73 × 55.88 | Carnegie Museum of Art, Pittsburg | ||
The Route to Mantes | 1874 | 38 x 55.5 | Musée du Louvre, Paris | ||
The Road from Mantes to Choisy le Roi | 1874 | Private collection | |||
The Road from Prunay to Bougival | 1874 | Private Collection | |||
Fog, Voisins | 1874 | 50.5 x 65 | Musée d'Orsay, Paris | ||
Village Street Grey Weather | 1874 | 38 x 55 | |||
Village Street Louveciennes | 1874 | 42 x 50 | Aberdeen Art Gallery | ||
A Normandy Farm | c. 1874 | 49.6 x 59.8 | Manchester Art Gallery | ||
The Aqueduct at Marly | 1874 | 54.3 x 81.3 | Toledo Museum of Art | ||
Snow at Louveciennes | c. 1874 | 46.3 x 55.8 | Courtauld Institute of Art, London | ||
Snow at Louveciennes | 1874 | 55.88 x 45.72 | Phillips Memorial Gallery, Washington, DC | ||
Snow on the Road, Louveciennes | 1874 | 38 x 46 | Private collection | ||
Road to Louveciennes | 1874 | 65 x 54 | Private collection | ||
The Effect of Snow at Argenteuil | 1874 | Private collection | |||
The Road to Saint Germain, near Marly | 1875 | 46 x 55 | Foundation E.G. Bührle, Zürich | ||
A Road in Seine and Marne | 1875 | 46 x 61 | |||
The Terrace at Saint Germain, Spring | 1875 | 73.66 x 99.06 | Walters Art Museum, Baltimore | ||
Fete Day at Marly le Roi (14 July at Marly, France) | 1875 | 52.5 x 72.3 | Higgins Art Gallery, Bedford | ||
The Versailles Road | 1875 | 47 x 38 | Musée d'Orsay, Paris | ||
The Road to Montbuisson at Louveciennes | 1875 | 46 x 61 | Musée de l'Orangerie, Paris | ||
Banks of the Seine at Port Marly | 1875 | 54.6 x 65 | Private collection | ||
Marly-le-Roi | 1875 | 38.1 × 56.2 | National Gallery of Art, Washington, D.C. | ||
The Watering Place at Marly le Roi in Winter | 1875 | 49.5 x 65.4 | National Gallery, London | ||
Bassin de Marly | 1875 | 46 x 61 | Kunsthaus Zürich | ||
Watering Place at Marly | 1875 | 39.5 × 56.2 | Art Institute of Chicago | ||
Horses being Watered at Marly le Roi | 1875 | 38 x 61 | Foundation E.G. Bührle, Zürich | ||
Wild Flowers (Bouquet de fleurs) | c. 1875 | 65.41 × 50.48 | Virginia Museum of Fine Arts, Richmond (private collection) | ||
Cow Pasture near Louveciennes | 1875 | ||||
The Forge at Marly-le-Roi | 1875 | 54 x 73 | Musée d'Orsay, Paris | ||
Landscape at Andresy | 1875 | ||||
The Meadow | 1875 | 54.9 x 73 | National Gallery of Art, Washington, D.C. | ||
Landscape along the Seine with the Institut de France and the Pont des Arts | c.1875 | 53.3 × 62.2 | Art Institute of Chicago | ||
Rider at the Edge of the Forest | 1875 | ||||
The Road from Versailles to Saint-Germain | 1875 | 51.1 x 65.1 | J. Paul Getty Museum, Los Angeles | ||
Valley of the Seine at Saint-Cloud | 1875 | 65 x 92 | Musée des Beaux-Arts de Rennes | ||
Sand on the Quayside, Port Marly | 1875 | 46 x 65 | Private collection | ||
Washerwomen at Bougival | 1875 | 46 x 61 | Kunsthaus Zürich | ||
Snow at Marly le Roi | 1875 | 38 x 55 | Private collection | ||
The Blocked Seine at Port Marly | 1876 | Private collection | |||
The Rising Path | 1875 | 65 x 50 | Private collection | ||
The Seine at Port-Marly, Piles of Sand | 1875 | 54 x 65.7 | Art Institute of Chicago | ||
The Hillsides at Bougival | 1875 | 50.2 x 59.7 | National Gallery of Canada, Ottawa | ||
Les scieurs de long | 1875 | 51 x 65.5 | Petit Palais, Paris | ||
Autumn Landscape, Louveciennnes | 1875 | 50.2 x 65.1 | Private collection | ||
Vue de Marly-le-Roi, effet de soleil | 1876 | 54.2 x 73.2 | Art Gallery of Ontario, Toronto | ||
Grapes And Walnuts | 1876 | 38 x 55.4 | Museum of Fine Arts, Boston | ||
A Path in Louveciennes | 1876 | 49.2 x 65.1 | Private collection | ||
The Marly Machine and the Dam | 1876 | 38 x 45 | Private collection | ||
The First Hoarfrost | 1876 | ||||
The Watering Trough at Marly with Hoarfrost | 1876 | 37.78 x 54.93 | Virginia Museum of Fine Arts, Richmond | ||
The Flood at Port Marly | 1876 | 50 x 61 | Thyssen-Bornemisza Museum, Madrid | ||
Flooding at Port-Marly | 1876 | 50 x 61 | Musée des Beaux-Arts de Rouen | ||
A Street in Marly | 1876 | 50 x 65 | Kunsthalle Mannheim | ||
Street Scene in Marly | 1876 | 46 x 65.4 | Private collection | ||
Place du Chenil in Marly, Snow Effect | 1876 | 50 x 61.5 | Musée des Beaux-Arts de Rouen | ||
Snow at Marly Le Roi | 1876 | 46 x 55 | Musée d'Orsay, Paris | ||
Flood at Port Marly | 1876 | 50.4 x 61 | Musée d'Orsay, Paris | ||
Flood at Port Marly | 1876 | ||||
The Flood on the Road to Saint Germain | 1876 | 46 x 61 | Museum of Fine Arts, Houston | ||
The Laundry | 1876 | 38 x 55 | Art Gallery of Ontario, Toronto | ||
Women Laundering | 1876 | 54 x 73 | |||
The Seine at Bougival | 1876 | 50 x 61 | |||
The Seine at Marly | 1876 | 60 x 73 | Musée des Beaux-Arts de Lyon | ||
The Seine at Bougival | 1876 | 45 x 61 | Metropolitan Museum of Art, New York | ||
Sunset at Port Marly | 1876 | 50.17 x 65.41 | Private collection | ||
View of Marly-le-Roi from Coeur-Volant | 1876 | 65.4 x 92.4 | Metropolitan Museum of Art, New York | ||
Waterworks at Marly | c.1876 | 46.5 x 61.8 | Museum of Fine Arts, Boston | ||
Hill Path | 1876 | 38 x 55 | Musée des Beaux-Arts de Lyon | ||
Summer at Bourgival | 1876 | 47 x 62 | Foundation E.G. Bührle, Zürich | ||
Banks of the Seine at Bougival | 1876 | 38 x 55 | Private collection | ||
Bougival | 1876 | 60 x 73 | Cincinnati Art Museum | ||
Boats on the Seine | 1875–79 | 37.2 x 44.3 | Courtauld Institute of Art, London | ||
Near Louveciennes | 1876 | 41 x 46 | Wallraf-Richartz Museum, Cologne | ||
The Banks of the Seine in Autumn | 1876 | 46.5 x 65.4 | Städel, Frankfurt | ||
Path in the Country | 1876 | 41 x 70 | |||
First White Frost | 1876 | 46 x 55 | Private collection | ||
The Seine at Billancourt | 1877 | 45.7 x 54.9 | Philadelphia Museum of Art | ||
Snow Effect at Louveciennes | c. 1877 | 50 x 61.5 | Museo Nacional de Bellas Artes (Buenos Aires) | ||
Road under Snow, Louveciennes | c. 1876 | 46 x 55 | Private collection | ||
Under Snow – a Farmyard at Marly-le-Roi | 1876 | 38.5 x 55.7 | Musée d'Orsay, Paris | ||
Unloading Barges at Billancourt | 1877 | 50 x 65 | Ordrupgaard | ||
The Bridge at Sèvres | c. 1877 | 38.1 x 46 | National Gallery, London | ||
Sevres Bridge | 1877 | 38 x 46 | |||
The Bridge of Sevres | 1877 | 38 x 46 | Private collection | ||
The Sevres Bridge | 1877 | 38 x 55 | |||
The Sevres Bridge | 1877 | 50 x 65 | |||
The Park at Sevres | 1877 | ||||
The Seine at Suresnes | 1877 | 60 x 73 | |||
Barges at Billancourt | 1877 | 46.5 x 56.3 | Hermitage Museum, Saint Petersburg | ||
Rowers | 1877 | ||||
Saint-Cloud | 1877 | 50 x 65 | Musée du Louvre, Paris | ||
The Seine at Saint-Cloud | 1877 | 38 x 55 | |||
The Bridge at Saint-Cloud | 1877 | Private collection | |||
Sunset at Moret | 1877 | ||||
A Street in Louveciennes | 1878 | 55 x 46 | Musée d'Orsay, Paris | ||
Bougival | 1878 | Private collection | |||
Dawn | 1878 | 54.5 x 65.5 | |||
Landscape at Sevres | 1878 | 92 x 73 | Private collection | ||
The Snow at Louveciennes | 1878 | 61 x 50 | Musée d'Orsay, Paris | ||
Allée of Chestnut Trees | 1878 | 50.2 x 61 | Metropolitan Museum of Art, New York | ||
Promenade of Chestnut Trees | 1878 | 51.75 x 62.55 | Private collection | ||
Seine at Daybreak | 1878 | 38 x 46 | |||
The Seine at Grenelle | 1878 | 27 x 41 | |||
The Seine at Grenelle, Rainy Weather | 1878 | 50 x 61 | |||
The Seine at Point du Jour | 1878 | 38 x 56 | Private collection | ||
The Seine, View from the Quay de Pont du Jour | 1878 | 54 x 65 | |||
The Banks of the Oise | 1878 | 54.3 x 64.7 | National Gallery of Art, Washington, D.C. | ||
First Snow at Veneux-Nadon | 1878 | 49.2 x 65.2 | National Gallery of Art, Washington, D.C. | ||
Resting by a Stream at the Edge of the Wood | 1878 | 73.5 x 80.5 | Musée d'Orsay, Paris | ||
Overpass at Sevres | 1879 | 37.9 x 55.5 | Pola Museum of Art | ||
Mooring Lines, the Effect of Snow at Saint-Cloud | 1879 | 37.5 x 45.7 | Philadelphia Museum of Art | ||
The Road from Versailles to Louveciennes | 1879 | 45.7 x 55.9 | Metropolitan Museum of Art, New York | ||
The Road in the Woods | 1879 | 54.9 x 73 | National Gallery of Art, Washington, D.C. | ||
An Autumn Evening near Paris | 1879 | 50.1 x 65.4 | Private collection | ||
Banks of the Seine | 1879 | 38 x 46 | |||
Children Playing in the Fields | 1879 | ||||
Flood at Moret | 1879 | 54 x 71.8 | Brooklyn Museum, New York City | ||
Flooded Field | 1879 | 49.5 x 73 | Private collection | ||
High Waters at Moret sur Loing | 1879 | 22 x 29 | |||
The Seine near Suresnes | 1879 | 50 x 65 | Private collection | ||
View of Sevres | 1879 | 46 x 38 | Private collection | ||
Path near Sevres | 1879 | Private collection | |||
Railroad Embankment at Sevres | 1879 | Museo Botero, Bogotá | |||
Railroad Embankment at Sevres | 1879 | Private collection | |||
Station at Sevres | c.1879 | 38.1 x 55.88 | Private collection | ||
The Station at Sevres | 1879 | Private collection | |||
Footbridge over the Railroad at Sevres | 1879 | 38 x 55.7 | |||
Saint-Cloud, Banks of the Seine | 1879 | 38 x 46 | Private collection | ||
The Seine near Saint-Cloud, High Water | 1879 | 38 x 55 | |||
The Factory at Sevres | 1879 | 60.01 x 73.34 | |||
The Hill Path, Ville d'Avray | 1879 | 50 x 65 | Private collection | ||
The Road in the Woods | 1879 | 46 x 65 | |||
Image | Name | Year | Dimensions (cm) | Current Location | Ref |
---|---|---|---|---|---|
Spring at Veneux | 1880 | 73 x 92 | Private collection | ||
View of Saint Mammés | c.1880 | 54.61 × 73.98 | Walters Art Museum, Baltimore | ||
Old Houses at Saint-Mammès | 1880 | 50 x 65 | Private collection | ||
The Path to the Old Ferry at By | 1880 | 49.8 x 65.1 | National Gallery, London | ||
The Seine at Suresnes | 1880 | 65.3 x 46.4 | Scottish National Gallery, Edinburgh | ||
Apple Trees in Bloom | 1880 | 65 x 81 | National Gallery of Canada, Ottawa | ||
The Small Meadows in Spring | 1880–81 | 54.3 x 73 | National Gallery, London | ||
Street Entering the Village | 1880 | 33 x 46 | Private collection | ||
Banks of the Loing, Autumn | 1880 | 92 x 65 | Private collection | ||
Bateau de Charge sur le Loing | 1880 | Private collection | |||
Bend in the River Loing in Summer | 1880 | ||||
Le Givre à Veneux | 1880 | 79.5 x 103 | University of Michigan Museum of Art | ||
Banks of the Seine at By | 1880–81 | 54.3 x 73.3 | Clark Art Institute, Williamstown | ||
Apples and Grapes in a Basket | 1880–81 | 46 x 61 | Clark Art Institute, Williamstown | ||
Effet de Neige (Snow Effect) | 1880–85 | 45.7 x 54.6 | Scottish National Gallery, Edinburgh | ||
Windy Afternoon in May | c.1880 | ||||
Chestnut Tree at Saint Mammès | 1880 | 49.8 x 65.7 | |||
Construction Site at Saint Mammès | 1880 | 65 x 92 | Private collection | ||
Construction Site at Saint Mammès | 1880 | 50 x 65 | |||
Overcast Day at Saint Mammès | c.1880 | 54.9 x 74.0 | Museum of Fine Arts, Boston | ||
Sunrise at Saint Mammès | 1880 | 49.5 x 65.1 | Private collection | ||
Le Bois des Roches Veneux Nadon | 1880 | 73 x 55 | Musée du Louvre, Paris | ||
The Roches Courtaut Wood, near By | 1880 | 50 x 65 | |||
View of Moret | 1880 | 38 x 55 | Private collection | ||
The Path from Veneux to Thomery along the Water, Evening | 1880 | 50 x 65 | |||
Walnut Tree in a Thomery Field | 1880 | 57 x 71 | Private collection | ||
Wiese, By | 1880 | 71.5 x 80 | |||
Riverbank at Saint Mammès | 1880 | 50 x 65 | Private collection | ||
Road Along the Seine at Saint Mammes | 1880 | 74 x 54 | Dallas Museum of Art | ||
The Seine at Suresnes | 1880 | ||||
The Forest at Boulogne | c.1880 | ||||
Snowy Weather at Veneux-Nadon | c.1880 | 55 x 74.5 | Musée d'Orsay, Paris | ||
The Bridge at Saint-Mammès | 1881 | 54.6 x 73.2 | Philadelphia Museum of Art | ||
The By Road at the Roches-Courtaut Woods – Indian Summer | 1881 | 59.2 x 81 | Montreal Museum of Fine Arts | ||
The Plain at Veneux-Nadon | 1881 | 50.5 x 65.3 | Montreal Museum of Fine Arts | ||
A February Morning at Moret sur Loing | 1881 | 50 x 65 | Private collection | ||
Orchard in Spring | 1881 | 54 x 72 | Museum Boijmans van Beuningen, Rotterdam | ||
Saint-Mammès: Morning | 1881 | 50.2 x 73.7 | Museum of Fine Arts, Boston | ||
The Loing at Saint-Mammès | 1881 | 49.8 x 64.9 | Museum of Fine Arts, Boston | ||
By the River | 1881 | 54 x 73 | |||
The Small Meadow at By | 1881 | 60 x 73 | Accademia Carrara, Bergamo | ||
Footpath in the Gardens at By | 1881 | 50 x 73 | Private collection | ||
Summer in Moret | 1881 | ||||
The Loing at Moret | 1881 | 38 x 54 | Private collection | ||
Landscape The Banks of the Loing at Saint Mammes | 1881 | Private collection | |||
Near Moret-sur-Loing | 1881 | 54.61 x 73.34 | Private collection | ||
The Garden of the Hoschedé Family, Montgeron | 1881 | 54 x 73 | Pushkin Museum, Moscow | ||
An August Afternoon near Veneux | 1881 | 54 x 73 | Private collector | ||
En Canoe at Veneux, September Afternoon | 1881 | 46 x 55 | Private collection | ||
November Afternoon | 1881 | ||||
Riverbank at Veneux | 1881 | 60 x 81 | Johannesburg Art Gallery | ||
The Fields and Hills of Veneux Nadon | 1881 | Private collection | |||
View of Saint-Mammès | 1881 | 54 x 73.7 | Carnegie Museum of Art, Pittsburgh | ||
Winter Morning, Veneux | 1881 | 50 x 81 | |||
The Bourgogne Lock at Moret, Spring | 1882 | 54.5 x 73.5 | National Gallery Prague | ||
Washerwomen, near Champagne | 1882 | 48.9 x 72.4 | National Gallery of Canada, Ottawa | ||
The Plain of Thomery and the Village of Champagne | 1882 | 54 x 73 | Private collection | ||
Canal du Loing Chemin de Halage | 1882 | 127 x 186.69 | Private collection | ||
Near the Bank of the Seine at By | 1882 | 54 x 73 | Private collection | ||
On the Road from Moret | 1882 | 54 x 73 | Private collection | ||
Walnut Trees, Sunset Early Days of October | 1882 | 73 x 92 | |||
Windy Day at Veneux | 1882 | 60 x 81 | Hermitage Museum, St Petersburg | ||
Between Veneux and By December Morning | 1882 | 54 x 73 | |||
Willows on the Banks of Orvanne | 1883 | 54.3 x 73.7 | Kunsthaus Zürich | ||
A Corner of the Wood in Sablons | 1883 | 60.5 x 73.5 | Musée d'Orsay, Paris | ||
The Road from Moret to Saint-Mammès | 1883–85 | 50.5 x 61.5 | Metropolitan Museum of Art, New York | ||
Banks of the Loing towards Moret | 1883 | 50 x 73 | |||
Bridge over the Orvanne near Moret | 1883 | Private collection | |||
On the Banks of the Loing Canal | 1883 | 54 x 64.5 | Private collection | ||
Provencher's Mill at Moret | 1883 | 54 x 73 | Museum Boijmans van Beuningen, Rotterdam | ||
Street in Veneux | 1883 | 54 x 73 | |||
The Loing at Moret | 1883 | 50.8 x 65.72 | Private collection | ||
Tugboat on the Loing at Saint-Mammès | 1883 | 54.5 x 73.5 | Petit Palais, Paris | ||
Matratat's Boatyard, Moret sur Loing | 1883 | 38 x 55 | |||
Path at Sablons | c.1883 | 46 x 55 | National Gallery of Australia, Canberra | ||
Landscape near Moret | 1884 | 54.5 x 73.5 | Private collection | ||
Haystack | 1884 | 38.1 x 55.88 | Private collection | ||
Morning in June (Saint Mammes et les Coteaux de la Celle) | 1884 | 54 x 73 | |||
Saint Mammès-Morning | 1884 | 63.5 x 87.6 | Los Angeles County Museum of Art | ||
River Banks at Saint-Mammès | 1884 | 50 x 65 | Hermitage Museum, St Petersburg | ||
Barges on the Loing, Saint Mammès | 1884 | Private collection | |||
Farmyard at Saint-Mammès | 1884 | 73 x 92 | Musée d'Orsay, Paris | ||
A Corner of the Roches Courtaut Woods, June | 1884 | 73 x 60 | |||
Saint-Mammès, temps gris | 1884 | 45.7 x 54.6 | Art Gallery of Ontario, Toronto | ||
La Croix-Blanche at Saint-Mammès | 1884 | 65.4 x 92.4 | Museum of Fine Arts, Boston | ||
September Morning near Saint-Mammès and the Veneux-Nadon Hills | 1884 | 54 x 72.5 | Ordrupgaard | ||
Canal du Loing | 1884 | 38.5 x 55 | Musée d'Orsay, Paris | ||
The Loing River at Saint-Mammes | 1885 | 38.7 x 55.6 | Pola Museum of Art | ||
Banks of the Loing River | 1885 | 55.1 x 73.3 | Philadelphia Museum of Art | ||
The Canal at Saint-Mammès | 1885 | 55.2 x 73.7 | Philadelphia Museum of Art | ||
La Route | 1885 | 65 x 92 | Kunsthaus Zürich | ||
Moret – The Shores of the Loing | 1885 | 52 x 74 | Albertina | ||
The River Boat Garage | 1885 | 46 x 56 | Ordrupgaard | ||
Une Cour aux Sablons | 1885 | 55 x 73.3 | Aberdeen Art Gallery | ||
The Edge of Fontainebleau Forest | 1885 | 60 х 73 | Pushkin Museum, Moscow | ||
Barges at Saint Mammès (Saint-Mammès during the strike of 14th July) | c. 1885 | 38 x 55 | Foundation E.G. Bührle, Zürich | ||
The Loing at Saint-Mammés | 1885 | 55 x 73.2 | Museum of modern art André Malraux - MuMa | ||
Saint-Mammès, Loing Canal | 1885 | 46.6 x 55.8 | Cleveland Art Museum | ||
Moret at Sunset | 1888 | 73.7 x 92.1 | Cincinnati Art Museum | ||
Evening in Moret, End of October | 1888 | 54 x 73 | Thyssen-Bornemisza Museum, Madrid | ||
Le Pont de Moret | 1888 | 64.8 x 92 | Minneapolis Institute of Art | ||
Image | Name | Year | Dimensions (cm) | Current Location | Ref |
---|---|---|---|---|---|
A Street in Moret | 1890 | 60 × 73.2 | Art Institute of Chicago | ||
Avenue of Poplars near Moret-sur-Loing | 1890 | 65 x 81 | Musée d'Orsay, Paris | ||
Banks of the Loing River, Morning | 1891 | 59.6 x 57.4 | Pola Museum of Art | ||
Bridge at Moret-sur-Loing | 1891 | 59.7 x 72.4 | Philadelphia Museum of Art | ||
Le pont de Moret - effet du matin | 1891 | 54.5 x 73.2 | Private collection | ||
The Loing and the Mills of Moret, Snow Effect | 1891 | 58.7 x 81.6 | Clark Art Institute, Williamstown | ||
St. Martin's Summers, near Moret-sur-Loing | 1891 | 73 x 60 | Musée Marmottan, Paris | ||
The Canal du Loing in Winter | 1891 | National Museum of Fine Arts of Algiers | |||
Rue Eugène Moussoir at Moret: Winter | 1891 | 46.7 x 56.5 | Metropolitan Museum of Art, New York | ||
Moret-sur-Loing (Rue des Fossés) | 1892 | 38.5 x 46.9 | National Museum Cardiff | ||
Le Canal du Loing | 1892 | 73.5 x 92.5 | Musée d'Orsay, Paris | ||
A Bend in the Loing | 1892 | 66 x 92.5 | Museu Nacional d'Art de Catalunya, Barcelona | ||
Uphill Road in Sunshine | 1893 | Musée des Beaux-Arts de Rouen | |||
The Bridge at Moret | 1892 | 73.5 x 92 | Musée d'Orsay, Paris | ||
The Small Meadows at By, Stormy Weather | 1892 | Musée d'art et d'histoire de Meudon | [1] | ||
The Church at Moret in the Morning Sun | 1893 | 65 x 81 | Musée des Beaux-Arts de Rouen | ||
The Church at Moret in Morning Sun | 1893 | 81 x 65 | Kunstmuseum Winterthur | ||
Moret Church, Afternoon | c.1893 | ||||
The Church of Moret-sur-Loing: Rainy Morning Weather | 1893 | 81.3 x 65.9 | Hunterian Art Gallery, University of Glasgow | ||
The Church in Moret, Evening | 1893 | 83 x 64 | Private collection | ||
The Church at Moret (Evening) | 1894 | 101 x 82 | Petit Palais, Paris | ||
Church at Moret after the Rain | 1894 | 73 x 60.5 | Detroit Institute of Arts | ||
The Church at Moret, Winter | 1893–94 | 81.3 x 54.3 | Budapest Museum of Fine Arts | ||
The Church at Moret | c.1893 | 55 x 46 | Calvet Museum, Avignon | ||
Sahurs Meadows in Morning Sun | 1894 | 73 x 92.1 | Metropolitan Museum of Art, New York | ||
A Corner of Moret-sur-Loing | 1895 | 33.7 × 42.6 | Art Institute of Chicago | ||
A Forest Clearing | 1895 | 56.4 x 65.4 | Thyssen-Bornemisza Museum, Madrid | ||
Barges From Berry on the Loing Canal in Spring | 1896 | 54 x 65 | Ordrupgaard | ||
Banks of the Loing | 1896 | Private collection | |||
Banks of the Loing | 1896 | 46.3 × 55.3 | Art Institute of Chicago | ||
By the River Loing | 1896 | Musée des Beaux-Arts de Rouen | |||
Cabins by the River Loing, Morning | 1896 | 60 x 73 | |||
Cabins along the Loing Canal, Sunlight Effect | 1896 | Private collection | |||
Les Bords du Loing | 1897 | 54.5 x 65.5 | Aberdeen Art Gallery | ||
Bords de Riviere or Les Oies | 1897 | 21.2 x 32 | Brooklyn Museum, New York Cleveland Museum of Art | ||
A Cardiff Shipping Lane | 1897 | 54 x 65 | Musée des Beaux-Arts de Reims | ||
Bristol Channel from Penarth, Evening | 1897 | Allen Memorial Art Museum, Oberlin | |||
The Cliff at Penarth, Evening, Low Tide | 1897 | 54.4 x 65.7 | National Museum Cardiff | ||
High Wind | 1897 | 55 x 66.5 | |||
Langland Bay | 1897 | 54 x 65 | Wallraf-Richartz Museum, Cologne | ||
Langland Bay | 1897 | ||||
Lady's Cove, Wales | 1897 | Musée des Beaux-Arts de Rouen | |||
Lady's Cove | 1897 | ||||
Lady's Cove, Langland Bay, Morning | 1897 | 65.7 x 81.3 | |||
Lady's Cove before the Storm | 1897 | 65 x 81 | |||
Langland Bay, Storr Rock, Morning | 1897 | 65 x 81 | Kunstmuseum Bern | ||
Storr Rock, Lady's Cove, Le Soir | 1897 | 65.5 x 81.5 | National Museum Cardiff |
Alfred Sisley 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. He deviated into figure painting only rarely and, unlike Renoir and Pissarro, he found that Impressionism fulfilled his artistic needs.
Moret-sur-Loing is a former commune in the Seine-et-Marne department in the Île-de-France region in north-central France. It is situated on the river Loing, close to its confluence with the Seine. Moret–Veneux-les-Sablons station has rail connections to Montargis, Melun, Montereau-Fault-Yonne, Laroche-Migennes and Paris.
Louveciennes is a commune in the Yvelines department in the Île-de-France region in north-central France. It is located in the western suburbs of Paris, between Versailles and Saint-Germain-en-Laye, and adjacent to Marly-le-Roi.
Eliza Pratt Greatorex was an Irish-born American artist who was affiliated with the Hudson River School. She is known for her landscape paintings as well as for several series of pen-and-ink drawings and etchings that were published in book form. She was the second woman to be elected an associate of the National Academy of Design, following Ann Hall.
The canton of Moret-sur-Loing is a former French administrative division, located in the arrondissement of Fontainebleau, in the Seine-et-Marne département. It was disbanded following the French canton reorganisation which came into effect in March 2015.
Veneux-les-Sablons is a former commune in the Seine-et-Marne department in the Ile-de-France region in north-central France. On 1 January 2017, it was merged into the commune Moret-Loing-et-Orvanne.
Saint-Mammès is a commune in the Seine-et-Marne department in the Île-de-France region in north-central France, in the metropolitan area of Paris. It is located 61 kilometres (38 mi) south-southeast of the centre of Paris, at the confluence of the Seine and Loing rivers. The Seine borders the northern boundaries of the city, while the Loing borders on the west.
The Pays des Impressionnistes is a certification mark created by the Syndicat intercommunal à vocations multiples des Coteaux de Seine in 2001 to promote the cultural heritage of this touristic area. Nine municipalities in the Yvelines department of France bordering the loop of the Seine River, where, during the nineteenth century, impressionist painters exercised their art, are associated with this creation: Bougival, Carrières-sur-Seine, Chatou, Croissy-sur-Seine, Le Pecq, Le Port-Marly, Louveciennes, Marly-le-Roi and Noisy-le-Roi. There is the Path of the Impressionists, four hiking trails dotted with reproductions of paintings, reflecting the still remarkable character of this landscape of Impressionist sites which has been proposed for inclusion in the World Heritage Site since 2009. Rueil-Malmaison, in the Hauts-de-Seine department, joined them in 2010, when eight of these municipalities have entrusted development task of the Pays des Impressionnistes to the visitor center of Marly-le-Roi, which organises Impressionist cruises along the banks of the Seine, as well as visits of ateliers of contemporary painters.
Moret-Loing-et-Orvanne is a commune in the Seine-et-Marne department, in the Île-de-France region in north-central France. Moret-sur-Loing is the municipal seat. The municipality was established on 1 January 2016 and consists of the former communes of Épisy, Montarlot and Orvanne. Orvanne was the result of the merger of the communes of Moret-sur-Loing and Écuelles on 1 January 2015. On 1 January 2017, the former commune of Veneux-les-Sablons was merged into Moret-Loing-et-Orvanne.
Drying Nets or Fishermen Spreading Their Nets is an 1872 oil-on-canvas painting by Alfred Sisley, now in the Kimbell Art Museum. The painting shows a scene near the village of Villeneuve-la-Garenne.
The Seine at Port-Marly, Piles of Sand is an 1875 painting by Alfred Sisley. It was exhibited at the Exposition Universelle in 1900 whilst in the collection of Dr. Georges Viau, a Paris dentist and art collector. By 4 March 1907 it was owned by Durand-Ruel, who tried and failed to auction it on 4 March that year. It was bought by the galerie Bernheim-Jeune in April 1920 and later by Martin A. Ryerson. In 1933 Ryerson left it to its present owner, the Art Institute of Chicago, where it is now in section 201 (Impressionists) on the 1st floor of the Art Institute of Chicago.
The Watering Trough at Marly with Hoarfrost is an 1876 painting by Alfred Sisley. It was owned by François Depeaux, a Sisley collector, and passed through other collections before ending up in that of Paul Mellon. It is now in the Virginia Museum of Fine Arts in Richmond, United States. It was painted at Marly-le-Roi and is part of his Marly series. Sisley's works showing the watering trough and The Flood at Port-Marly are two series of Impressionist masterworks comparable to Claude Monet's Gare Lazare series, Renoir's The Swing and Bal du moulin de la Galette series, Berthe Morisot's Champs de blé series and Camille Pissarro's Vues de Pontoise and Toits rouges series. Sisley did not much change his point of view between each painting, but he dramatically changed the background, proving his ability to vary views of a limited section of countryside.
Avenue of Poplars near Moret-sur-Loing is an 1890 painting by Alfred Sisley. It is held by the Musée d'Orsay, in Paris.
The Small Meadows in Spring, By is an 1881 painting by Alfred Sisley, on loan from Tate Britain to the National Gallery since 1997.
The Aqueduct at Marly or The Aqueduct at Louveciennes is an 1874 painting by Alfred Sisley. It was bought from the artist by Paul Durand-Ruel in 1876 before being acquired by Edward Libbey, who in turn donated it to the Toledo Museum of Art, where it now hangs. It shows the Aqueduc de Louveciennes. A lifesize reproduction of it is sited at the site of its creation as part of the Pays des Impressionnistes scheme.
The Canal du Loing or The Canal du Loing at Moret is an 1892 painting by Alfred Sisley, donated to the Musée du Luxembourg after the painter's death in 1899 by a group of the painter's friends headed by Claude Monet. It is now in the Musée d'Orsay. A similar work, painted in winter 1891, is now in the National Museum of Fine Arts of Algiers.
The Forge at Marly-le-Roi is an oil on canvas painting by British-born French artist Alfred Sisley, created in 1875. It was part of the François Depeaux collection until its sale in 1906 by the Galerie Georges Petit to Étienne Moreau-Nélaton. Moreau-Nélaton left it to the French state later in 1906 and it has been displayed at the Musée d'Orsay, in Paris, since 1986.
The Church at Noisy-le-Roi, Autumn Effect or The Bell-Tower at Noisy-le-Roi, Autumn Effect is an Impressionist painting by Alfred Sisley.
Regatta at Molesey near Hampton Court is an 1874 painting by Alfred Sisley, now in the Musée d'Orsay, to which it was allocated in 1986. The work shows the Molesey Regatta on the River Thames, begun by an amateur sportsman in 1873 and still in existence. The viewpoint looks upstream from Molesey Boat Club, with the recently-constructed Island Hotel visible on Tagg's Island.
The Moret Church series of some dozen oil paintings was executed in 1893/94 by the English Impressionist artist Alfred Sisley. The church building depicted in each of the paintings is the Church of Notre-Dame in the village of Moret-sur-Loing, Seine-et-Marne, France, where Sisley had elected to see out his days until his death in 1899.