Sisley account expo’s

under construction
Alfred Sisley (1839-1899)

Account expositions

 

Introduction:

Here you will find an account of which paintings Sisley has exhibited at the ‘Impressionist’ Expositions in 1874,  1876, 1877 and 1882 and of the works he submitted to the Salon.
The indication of a painting is often uncertain. Often there are more than one options. In my choices I mainly have followed the suggestions of Moffett (1986,R2). He mostly follows the Catalogue Raisonné (=CR) of Daulte. Information about the works Sisley exhibited at the Salon, I found in the Salon database of musée d’Orsay (see). Additionally I used the books of Blondel (2016, aR1=R38), Gale (1992=R53) and Mary Anne Stevens (1992=R166) about Sisley.
When I have no suggestions of a reliabel source I make connections between the french titles in the catalogues and the contemporary titles of the paintings. These suggestions of mine are very uncertain or just a suggestion to compare. But still I hope also these suggestions give an impression of what Sisley could have exhibited at these expositions.
For the pictures I made use of the marvelous databases of pictures of the-athenaeum.org. Additional pictures I took from Wikipedia (=iR3-5) wikiart.org (iR7); the webgallery of impressionism.co.uk (=iR22). For zoom options you can look at the Google-Art-Project (=iR8). For other references to internet pages (=iR) see. For general references (=R) see. For additional references (=aR) see at the bottom of the main page about Sisley.

 

The first ‘impressionist’ exposition 1874:

GENERAL OVERVIEW:
  • catalogue numbers 161-165+hc
  • so in total Sisley exhibited 5+1=6 works ;
    • 5x an indication of place
    • 2x an indication of time, season or weather
    • 0x a study
    • 2x a loan, both of Durand-Ruel
  • In my choices I’m also inspired by Dayez (1974=R87,p254).
THE CATALOGUE NUMBERS:

1874-161        Route de Saint-Germain; appartient à  M. Durand-Ruel
Eng. = the road to…
Moffett (R2,p123) suggests with a perhaps CR43, Dayez also makes this suggestion (R87,p254), now: 1872, The Route from Saint-Germain to Marly, 46×61, MAM San Antonio. Maybe Sisley showed the same picture in 1876 (no. 243). Castagnare (1874/04/29) calls this work ‘a truly poetic landscape’ (R87,p265). See there for a possible location. Saint-Germain lies about 2km north of Marly-le-Roy, see.

1874-162        Île de la Loge ; appartient à  M. Durand-Ruel
Moffett (R2,p123) and Dayez suggests: 1872, CR21, Ferry to the Ile-de-la-Loge, Flood, 46×61, NCG Copenhagen
île de la Loge is an Island in the Seine along the communities of Le-Port-Marly, Louveciennes and Bougival, see. De Lora (1874/04/18) calls it one of the most excellent works (R87,p257). Stevens describes that Sisley overturned in this work the traditional conventions of a composed and carefully constructed landscape he often used. But just a little later she writes ‘the composition … has been carefully arranged’. (R166,p114). Stevens mentions this work was bought by Durand-Ruel in 1873, who also exhibited in London in 1883 (no.45) as one of 8 works by Sisley (R166,p114).

1874-163        La Seine à Port Marly
Moffett (R2,p123+109) suggests with a perhaps CR67, 1873, La Machine de Marly , 45×65, NCG Copenhagen. The title in the catalogue doesn’t refer to the Machine de Marly, what is to be expected like in 1877-219. The emphasize is on the Seine. Gale (R53) doesn’t confirm the choice of Moffett, Distel does (R166). Dayez suggests a later work: 1875, CR176, La Seine à Port-Marly, tas de sable , 55×74, IA Chicago (see info), but this is not confirmed by the Art Institute of Chicago (iR74). Chesnau (1874/05/07) reviews: ‘I don’t know a painting nor from the past nor in the present that renders a way so complete, so perfect the physical sensation of the atmosphere of the ‘plein-air’ (R87,p270). But none of the art-critics describe the painting. Sisley made several paintings from the Seine near Bougival (see CR39, 46, 73, 87, 88, 89, 90, 93, 111). Just one bares the title the Seine at Port-Marly, that work I like to suggest: 1873, CR72, The Seine at Port-Marly, 50×65, private (iR10;iR94;R116II,p189;R166,p48), a work bought by Durand-Ruel in 1874 (R166,p48).

1874-164        Verger
Eng. = Orchard
Moffett suggests CR82, now in a private collection in Paris. Maybe the same work the Dayez rendered, a work made in 1873 and part of the Durand-Ruel collection in 1974 (R87,p254). I couldn’t find a colour reproduction of the work Dayez reders.
To compare I render: CR62, 1873, Apple Trees in Flower, Spring Morning (Pommiers en Fleurs – Louveciennes), 50×73, private. 
Leroy (1874/04/25) describes a small tree on the right (R87,p260). CR62 renders this small tree most clearly.

1874-165        Port-Marly, soirée d’hiver
Eng.= Winter evening
Moffett (R2,p123) doesn’t give a suggestion, nor does Dayez. I could only find 2 scenes of the Seine in winter: 1872, The Seine at Bougival in Winter, xx, PBA Lille and: 1874, CR110, the Seine near Bougival, winter morning, 53×27, A2013/02/05 (iR10;iR6;iR11;R116II,p124). Bougival lies about 2km south-east of Port-Marly, see.

1874-165+hc  L’automne, bords de la Seine près Bougival
Moffett (R2,p123+142) suggests a work shown outside the catalogue which is now: 1873, CR94, Autumn – Banks of the Seine near Bougival, 46×61, MBA Montreal. 
Richard Brettell doesn’t confirm this suggestion (R17,p173). Prouvaire (1874/04/20) describes the work: ‘On the bank of water vaguely tinted by the reflection from a pale sky, some yellow and red autumn trees lean, sad yet golden. And on the opposite bank, in a sort of half-circle, small houses, some with red roofs, stretch toward a distant, deeper blue.’ (R2,p142;R87,p259)

 

The second ‘impressionist’ exposition 1876:

Overview:
  • catalogue numbers: 237-244
  • note: Sisley is wrongly noted as Sysley
  • it’s indicated that he lived in Marly-le-Roy; about 10km west of Paris (Google-maps)
  • so he exhibited 8 works
    • 7x an indication of place
    • 3x an indication of time, season or weather
    • 0x a study
    • all 8 were loans
      • 4 of Martin
      • 2 of Durand Ruel (or is Durand someone else?)
      • 1 of Legrand
      • 1 of Mme Latouche

 

THE CATALOGUE NUMBERS:

1876-237        Effet de neige ; Appartient à M. Martin
Eng. (=effect of snow)
I give as an uncertain suggestion: 1874, CR147, Snow effect at Argenteuil, 54×65, private. Argenteuil lies east of Marly-le-Roy. But maybe a snow landscape in Marly-le-Roy is a better suggestion: 1876, Effect of Snow, Marly, 50×61, xx, see. Or: 1876, The Snow at Marly-Le-Roi, 46×55, Orsay, see.
Moffett (R2,p165) doesn’t give a suggestion.

1876-238        Avenue de l’Abreuvoir, effet de givre ; Appartient à Mme Latouche
Eng. = Avenue of the watering-place, effect of (hoar-)frost
I give as an uncertain suggestion: 1873, The Frost (Givre), 46×38, KM Washington
Better is a picture with the Avenue de l’Abreuvoir on it. Another option: 1876, The First Hoarfrost, xx, BAL London, see.

Moffett (R2,p165) doesn’t give a suggestion.
For the location on Google-maps see, for a street view of the Abreuvoir see.

1876-239        Une route aux environs de Marly ; Appartient à M. Martin
Eng. = A road in the surroundings of Marly
I give as an uncertain suggestion: 1875, The Route from Marly le Roi, 58×74, private
Moffett (R2,p165) doesn’t give a suggestion.

1876-240        L’Abreuvoir de Marly, en hiver ; Appartient à M. Martin
Eng. = The watering-place of Marly, in the winter. See also 1876-238.
Moffett (R2,p165+186) suggests with a perhaps CR152: 1875, The Watering Place at Marly-le-Roi,
50×66, NG London (or: Tate Gallery, London). I follow.

1876-241        Le bord d’un ruisseau, environs de Paris ; Appartient à M. Durand Ruel
Eng. = The edge of a brook, surroundings of Paris
I give as an uncertain suggestion: 1875, The Duck Pond, 46×55, private
Moffett (R2,p165) doesn’t give a suggestion.

1876-242        Le chemin des aqueducs ; Appartient à M. Durand
Eng. = The road of the aqueduct
Moffett gives two suggestions: CR133, 1874, L’Aqueduc de Marly , 54×81, MA Toledo
and CR13(?) from the Reinhart collection in Winterthur, which is perhaps: 1876, At the Foot of the Aqueduct at Louveciennes, 46×55, xx (see). I think this last suggestion is better. The title of the catalogue emphasises the road of the aqueduct and not the aqueduct itself. Still I render the Toledo painting. Gale (R53,p82) mentions this picture was soled to Durend-Ruel for 400 francs.
A french Wikipedia page gives interesting information about the aqueduct and Sisley’s paintings of it, see. For a street view see , for the location see.

1876-243        Route de Saint-Germain; Appartient à M. Martin
Eng. = the road
Compare : 1874-161 which has the same title, but then owned by the art-dealer Durand-Ruel.
As an uncertain suggestion I repeat the suggestion of 1874-161: 1872, The Route from Saint-Germain to Marly, 46×61, MAM San Antonio.
For the possible location on Google-maps, see.

1876-244        Inondations à Port-Marly ; Appartient à M. Legrand
Eng. = floods
Moffett (R2,p165+151) suggests CR240: 1876, Flood at Port-Marly, 60×81, Orsay. I follow, marking that Sisley painted 4 quite similar pictures of the same scene and spot in 1876 and already painted the same theme and spot in 1872. For more information on a french Wikipedia page which affirms Moffett’s suggestion see . See also Gale (R53,p104).
Le Port-Marly lies north of Marly-le-Roy along the Seine, see.
Also see 1877-227

 

The third ‘impressionist’ exposition 1877:

Overview:
  • catalogue numbers: 211-227
  • so Sisley showed 17 works
    • 10x an indication of place
    • 3x an indication of time, season or weather
    • 0x a study
    • 11 of them were loans
      • 3 of M. H. (probably Hoschedé)
      • 3 of M. de Bellio
      • 3 of Charpentier (assuming that M. Ch. also is Charpentier)
      • 1 of Duret
      • 1 of Manet
The catalogue numbers:
  • 1877-211        Le Chalet ; Gelée Blanche ; Appartient à M. H…
    Eng. = the chalet ; hoar-frost (Nl.=rijp)
    Moffett (R2,p206) suggests with a perhaps CR208, now in the Metropolitan 1876, CR208, View of Marly-le-Roi from House at Coeur-Volant, 65×92, Metropolitan. But the hoar-frost is not visible on this painting.
  • 1877-212        Le Parc ; Appartient à M. H…
    Moffett (R2,p206) suggests with a perhaps CR211 now in Geneva.
    As an uncertain suggestion I give: 1877, The Park at Sevres, 73×92, private. Another option could be: 1876-1881, D444, The Garden of Hoschede, Montgeron, 56×74, Pushkin, (see).
    Sèvres (see) is about 45km south-east of Marly-le-Roy where Sisley lived.
  • 1877-213        Route, le soir ; Appartient à M. H…
    Moffett (R2,p206) suggests with a perhaps CR219.
    I give as a very uncertain suggestion: 1876, CR201, A Road in Marly, 38×55, private
    Another option is: 1876, CR220, A Path in Louveciennes, 46×65, private, see
    Another option is: 1876, CR227, Summer at Bougival, 46×71, Bührle, see .
  • 1877-214        Scieurs de long ; Appartient à M. de Bellio
    Eng. = Board sawyers; Nl. = plankenzagers)
    Moffett (R2,p206+239) suggests: 1876, CR230, Pit Sawyers, 51 x 66, MPP Paris. I follow.
  • 1877-215        Rue de village ; Appartient à M. de Bellio
    Eng. = road in a village.
    Moffett (R2) doesn’t give a suggestion.
    As a very uncertain suggestion I give: 1876, CR199, Une Rue à Marly (Place du Marché), 50×65 , Kh Mannheim,  WPinfo
  • 1877-216        Les Gressets, village aux environs de Paris ; Appartient à M. de Bellio
    Moffett (R2) doesn’t give a suggestion.
    Nowadays there is an Avenue des Gressets in La Celle-Saint-Cloud, see , maybe referring to the former village Les Gressets. Still this spot is 8km south-west of Paris-centre.
    Some very uncertain suggestions are:
    1876, View of St. Cloud – Sunshine, 54×73, AGO Toronto
    1877, A Street, Possibly in Port-Marly, 46×37, FM Cambridge, see .
  • 1877-217        La Seine, au Pecq ; Appartient à M. Charpentier
    Moffett (R2) doesn’t give a suggestion.
    Pecq lies north-west of Marly, see .
    As a very uncertain suggestion I give: 1877, CR265, La Seine au point du jour, 38×47, MuMa Le Havre
  • 1877-218        Champs de foin ; Appartient à M. Charpentier
    Eng. = Hay field
    Moffett (R2) doesn’t give a suggestion.
    As a very uncertain suggestion I give: CR212, 1876, Fields at Saint Cloud, 54×73, private
  • 1877-219        La Machine de Marly ; Appartient à M. Duret
    Moffett (R2,p207) suggests CR215.
    I assume this is: 1875, The Marly Machine and the Dam, 38×46, private
    Compare also 1874-163
    The machine de Marly is a large hydraulic system to pump the water of the Seine to the Palace of Versailles, see for more info, and for the location see and the Street view.
  • 1877-220        Le pont d’Argenteuil en 1872 ; Appartient à M. Manet
    Moffett (R2,p207) suggests: 1872, CR30, The Bridge at Argenteuil, 39×61, Memphis BMA. I follow.
    In 1872 Monet lived in Argenteuil (see). Sisley often visited him. This painting was bought by Manet.
  • 1877-221        Bords de la Seine, Coup de vent ; Appartient à M. CH…
    Moffett (R2,p207) suggests with a perhaps CR228.
    As a very uncertain suggestion I give: 1877, The Seine at Saint-Cloud, 38×55, private
  • 1877-222        L’Abreuvoir, à Marly
    Eng. = Watering place
    For information and location of the Abreuvoir see 1876-238.
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: CR158, 1875, The Watering Place at Marly, 46×61, Kh Zürich
    Sisley often painted the Abreuvoir, so there are several other options.
  • 1877-223        L’Auberge du Lion-d’Or
    Eng. = Inn
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1876, Inn on Main Street, Marly, 50×65, private
  • 1877-224      Village de Marly. (Effet de neige.)
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1876, Winter in Marly, Snow, 46×55, private
  • 1877-225      Le Lavoir, à Marly
    Eng. The wash house
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1876, CR217, The Laundry, 38×55, AGO Toronto
    Sisley also painted two paintings of wash-houses in Bougival.
  • 1877-226        La Terrasse, à Marly
    Eng. = terrace or dam; Nl. = Dijk, aardwal)
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1875, The Terrace at Saint-Germain, spring, 74×99, WAM Baltimore
    Saint-Germain lies north-west of Marly.
    ‘Terrasse’ also means ‘dam’. When you compare this with 1877-219 than another suggestion is: 
    1876, Waterworks at Marly, 47×62, MFA Boston, see .
  • 1877-227        Inondations
    Eng. = floods
    Moffett (R2,p207) suggests any one of CR 237-240 .
    I give: 1876, CR237, Flood at Port-Marly , 50×61, MBA Rouen
    See also 1876-244 = CR240

 

The seventh ‘impressionist’ exposition 1882:

The catalogue mentions Sisley lived ‘à Moret (Seine et Marne)’. In these days Sisley lived in Moret-sur-Loing and before that in Veneux-Nadon. All these places lie south-east of Paris.

Overview:
  • catalogue numbers: 162-188
  • so Sisley showed 27 works
    • 18x an indication of place
    • 8x an indication of time, season or weather
    • 0x a study

 

THE CATALOGUE NUMBERS:
  • 1882-162      Prairie de Veneux-Nadon
    Veneux-Nadon is now called Veneux-les-Sablons (see). There are still roads called after Nadon (see).
    Moffett (R2,p395) suggests with a perhaps CR430 in a private collection in Winterthur.
    As an uncertain suggestion I give: ca1882, CR456, The Plain at Veneux-Nadon, 54×72, private
    Maybe: ‘1881, Meadows of Veneux-Nadon, 60×81, private’ is a better option, see
  • 1882-163      Après-midi d’Août
    Eng. = afternoon in August.
    Moffett (R2,p395) suggest CR436.
    As an uncertain suggestion I give: 
    1881, An August Afternoon near Veneux, 54×73, private
  • 1882-164      Au bord du Loing
    Moffett (R2,p395) suggest with a perhaps CR410.
    As an uncertain suggestion I give: 1882, Canal du Loing – Chemin de Halage, 127×187, private
    The Loing is a river that flows into the Seine at Saint-Mammès. It’s source is in Sainte-Colombe-sur-Loing, see

  • 1882-165      Le chemin de By
    Moffett (R2,p395) suggest CR435, now in a private collection in Berne.
    As an uncertain suggestion I give: 1880, Near the Seine at By, 54×73, CAI Williamstown
    By lies north of Veneux
    , see
  • 1882-166      Les Laveuses
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1879, Lavandières près de Champagne, 60×73, private
  • 1882-167      Pâle soleil d’automne
    Eng. = pale sunlight in autumn
    Moffett (R2,p395) suggest CR335, now in a private collection in Paris.
    As un uncertain suggestion I give: 
    1881, CR439, Morning in November, 54×73, private
  • 1882-168      Cabane au bord de l’eau
    Eng.: Cabine along the water
    Moffett doesn’t give a suggestion.
    As an uncertain suggestion I give: 1881, CR450, A February Morning at Moret-sur-Loing, 50×65, private
  • 1882-169      Saint-Mammès, temps gris
    Moffett (R2,p395+418) suggest CR374, now in Boston. Now: 1880ca, Overcast Day at Saint-Mammes, 55×74, MFA Boston. I follow.
    Saint-Mammès is about 60km south-east of Paris, see

  • 1882-170     La prairie, le matin
    Moffett (R2,p395) suggest with a perhaps CR429, now: 1881, CR429, Willows in a field – afternoon, 50×60, xx. I follow.
    Another suggestion is: 1881, Saint-Mammes, Le matin (Morning), 50×74, Boston MFA, see

  • 1882-171      effet du soir
    Moffett doesn’t give a suggestion.
    To compare I give a later work: 1888, Evening in Moret, end of October, 54×73, MTB Madrid
    But maybe the following work is a better suggestion: 1882, Walnut Trees, Sunset – Early Days of October, 73×92, private, see
  • 1882-172      paysage, temps orageuse
    Eng.: landscape, stormy weather; NL : stormachtig
    Moffett (R2,p395) suggest with a perhaps CR405.
    I give as an uncertain suggestion: 1880ca, Windy Afternoon in May, xx, xx
    Another option is: 1882, CR452, Windy Day at Veneux (La campagne à Veneux), 60×81, Hermitage, see. But Kostenevich (R15,p224) doesn’t suggest it was exhibited in 1882.
  • 1882-173      Les petits prés à By
    Eng.: The little meadows near By
    Moffett (R2,p395) suggest with a perhaps CR428, now: 1881, CR428, the small meadow at By, 60×73, AMB Rolandseck.
    See as another suggestion: 1881, CR427, Orchard in Spring – By, 54×73, Boijmans, see .

  • 1882-174      St Mammès et les coteaux de la Celle
    les coteaux = Eng.: the slopes / hillside; Nl. = hellingen
    Moffett doesn’t give a suggestion.
    To compare I give a later work: 1884, CR545, Morning in June (Saint-Mammès et les Coteaux de la Celle), 54×73, private
    La Celle-sur-Seine lies at the other bank of the Seine opposite of Saint-Mammès, see.
  • 1882-175      Un noyer  à Veneux
    Eng.: Walnut Tree; NL. = notenboom
    Moffett (R2,p395) suggest CR432, now in a private collection.
    As another very uncertain suggestion I give: 1880, CR397, Walnut Tree in a Thomery Field, 58×72, Sotheby 2012. Another suggestion is: 1882, Walnut Trees, Sunset – Early Days of October, 73×92, private, see .
    For Veneux see 1882-162.
  • 1882-176      Soleil d’hiver à Veneux
    Moffett (R2,p395) suggest CR341, now in a private collection in Paris.
    As a very uncertain suggestion I give: 1881, Winter Morning – Veneux, 50×81, private
    For Veneux see 1882-162. 

  • 1882-177      La confluent de la Seine et du Loing
    Moffett doesn’t give a suggestion.
    To compare I give a later work: 1885, Confluence of the Seine and the Loing, 54×73, private
    On the south side of the confluence lies Veneux and on the north side Saint-Mammès, see .
  • 1882-178      La Seine à St-Denis
    Moffett doesn’t give a suggestion.
    As a very uncertain suggestion I give an old work: 1872, The Island of Saint-Denis, 51×65, Orsay
    Saint-Denis lies at the west side of Paris, at the right / east bank of the Seine, see.
  • 1882-179      Saint-Mammès
    Moffett doesn’t give a suggestion.
    Sisley made a lot of pictures of and in Saint-Mammès, see also 1882-169. So the title doesn’t give much help.
    As a very uncertain suggestion I give: 1879, Saint-Mammes, 46×38, private
  • 1882-180      Le chemin des fontaines à By
    Moffett (R2,p395) suggest with a perhaps CR434.
    To compare I give a later work: 1884, Chemin des Fontaines a Veneux-Nadon, 49×66, private
    For Veneux see 1882-162; for By see 1882-165

  • 1882-181      La sente des roches
    Eng.: the footpath. Roches was a wood along the Seine near By / Veneux, see .
    Moffett (R2,p395) suggest with a perhaps CR437.
    As a very uncertain suggestion I give: 1880, CR403, The Roches-Courtaut Wood, near By, 50×65, private.
    Another option could be: 1880, CR408, Le Bois des Roches – Veneux- Nadon, 73×55, Louvre, see .
  • 1882-182      La vue du bord de l’eau à Saint-Mammès
    Eng.: The view along the water at Saint-Mammès. For Saint-Mammès see 1882-169
    Moffett doesn’t give a suggestion.
    As a very uncertain suggestion I give: 1881, The Seine at Saint Mammes, xx, Muskegon MA
  • 1882-183      La berge de la prairie de Veneux-Nadon
    Eng.: The (river)bank of the meadow of V-N; NL. = bank. For Veneux see 1882-162.
    Moffett (R2,p395) suggest CR384, now in a private collection.
    As a very uncertain suggestion I give: 1881, The Fields and Hills of Veneux-Nadon, 54×73, private
  • 1882-184      Vue de Moret
    Moffett doesn’t give a suggestion. As an uncertain suggestion I give: 1880, View of Moret, 38×55, private.
    Eng.: View of Moret. Moret =65km south-east of Paris, see ,. it’s now part of Veneux-les-Sablons.
  • 1882-185      Saint-Mammès
    For Saint-Mammès see 1882-169. See also my remark at 1882-179 with the same title.
    Moffett doesn’t give a suggestion. As a very uncertain suggestion I give: 1881, Saint Mammes, 80×99, Princeton UAM
  • 1882-186    Après-midi de Septembre en bateau
    Eng.: Afternoon in September in a boat.
    Moffett (R2,p395) suggest CR473, now in a private collection in Switzerland, now: 1882, CR473, En canot à Veneux, après-midi de september (Dinghy at Veneux, Noon), 47×56, private. I follow.
  • 1882-187      L’étang de Chevreuil
    Eng.: The lake of Chevreuil. There is a étang de Chevreuil (see), north of Le Val du Tellier which is part of Orne,  about 120km south-west of Paris, but it’s not quite likely Sisley ever went there.
    Moffett doesn’t give a suggestion. To compare I give a later painting with the same title: 1888ca, L’Etang de Chevreuil, seize unknown, private.
  • 1882-188        Le chemin de l’étang
    Eng.: the path / road to the lake. There is a chemin de l’étang in Moret, see.
    Moffett doesn’t give a suggestion. As a very uncertain suggestion I give: 1880, Landscape on the edge of Moret (Landscape near Moret), 65×54, KMF Montclair, USA . Another suggestion is: 1882, CR467, On the Road from Moret, 54×73, private , see .

 

 

Sisley at the Salon:

My main sources are the Salon database of Musée d’Orsay and Blondel (aR1). For the additional sources see read and see more .  Note: an artist mostly submitted two works at the Salon.

1866:

This was his debut at the Salon. Sisley is called a pupil of Gleyre. This is the only time it is mentioned. His adres was: rue Moncey, 15.

  • 1785, Femmes allant au bois ; paysage
    now probably: 1866, CR4, Street of Marlotte  (Women Going to the Woods),
    65×92, BMA Tokyo.
  • 1786, Une rue de Marlotte ; environs de Fontainebleau
    now probably is: 1866, CR3, Village Street in Marlotte, 50×92, Buffalo AKAG
  • These works were probably made around Februar 1866, when Sisley was painting with Renoir and Jules le Coeur in Marlotte and surroundings. Note the diagonal of the village street. Note the sharply contrasted light and shade. Note the rendering of working people. Note that Sisley is rendering to variations of the same theme. (R166,p91)

 

1867:

Sisley was rejected. (R53,p140) Maybe: 1867, CR5, Still- Life, Heron with spread wings, 81×100, MF Montpellier, (iR2; iR11; R53,p46;R1,p182;R38;R166,p96).

 

1868:

His adres was: Rue de la Paix, 9.
He exhibited 1 work. Probably 1 work was rejected.

  • 2312, Avenue de châtaigniers, près la Celle-Saint-Cloud
    Now probably: 1867, CR9, Avenue of Chestnut Trees near La Celle-Saint-Cloud, 95×122, Southampton CAG
    Châtaigniers = chestnut trees. La Celle-Saint-Cloud lies south of Bougival and about 15km west of Paris. For a possible location see .

 

1869:

Sisley was rejected. (R53,p140) Maybe: 1869, CR12,  View of Montmartre, from the Cité des Fleurs aux Batignolles, 70×117, MdGrenoble (iR11;iR2;R53,p48;R8,p137;R166,98).

 

1870:

His adres was: Cité des Fleurs, 27.

  • 2650, Péniches sur le canal Saint-Martin
    Now: 1870, CR17, Péniches sur le canal Saint-Martin (Barges on the Saint-Martin Canal), 54×73, Orsay or Winterthur. This work was bought by Manet.
    Péniche = Rhine barge. For the location see .
  • 2651, Vue du canal Saint-Martin
    Now: 1870, CR16 , Vue du canal Saint Martin Canal, 50×65, Orsay
    This work was bought by Dr. Gachet (R166,p100).

  • For a comment on these two works also see the introduction to the main page of Sisley. Note that Sisley renders a more industrial scene. Note also the wide expanse of water and sky. With these two works Sisley exhibited two variations on the same theme. The works stayed unnoticed at the Salon. (R166,p100)

 

1871:

There was no Salon due to the Franco-Prussian war.

 

1872:

Sisley does not submit to the Salon (R53,p141)

1873:

Sisley does not submit to the Salon (R53, p141)

1874-1882:

Sisley joins the Impressionist’ expositions of 1874, 1876, 1877 and 1882.

1878

Sisley is rejected at the Salon (R53,p141). A very uncertain suggestion (a relatively large work): 1878, CR288, Landscape at Sèvres, 92×73, private (iR2).

1879:

Sisley is rejected at the Salon (R87,p253;R166,p267).

1880:

Sisley tried to exhibit at the Salon (R166,p267).

1890:

Sisley exhibits at the Salon de la Société nationale des Beaux-Arts, the successor of the Salon. He will do so frequently until he death in 1899. He exhibits 5 – 8 works. So the limited amount of 2 works an artist is left behind. He does so as ‘associé de la Société nationale des Beaux-Arts’ (see also R53,p141). All this time his adres is noted as: Moret or Moret-sur-Loing (Seine-et-Marne).

  • 819, La porte de Bourgogne à Moret ; (Appartient à M. Mallet)
  • 820, A Moret, le soir ; (Appartient à M. Montagnac)
  • 821, Au Mois de Mai ; (Appartient à M. Clapisson)
  • 822, Au Printemps ; (Appartient à M. Leclanché)
  • 823, Le pont de Moret (Temps gris)
  • 824, Le Loing et le coteau de Saint-Nicaise

1891:

  • 860, Le Loing en été
  • 861, Avenue de peupliers au soleil couchant ; (Appartient à M. Bernheim jeune)
  • 862, La Crue du Loing au pont de Moret (matinée de mars)
  • 863, La passerelle
  • 864, Saules et peupliers ; (Appartient à M. Bernheim jeune)
  • 865, A Moret en hiver (les moulins)
  • 866, L’Orvanne

 

1892:

  • 941, L’Abreuvoir
  • 942, L’Orvanne et le Canal du Loing en hiver
  • 943, Meules de Paille (effet du matin)
  • 944, Au bord du Loing (le matin, effet de printemps), pastel
  • 945, Le Gros Peuplier (effet de soleil voilé)
  • 946, Le Village
  • 947, Le vieux Chemin de Grez au soleil couchant

Mirbeau commented that ‘his drawing has become sloppy. It seems that Tiredness, weariness has set in.’ (R166,p275).

1893:

  • 973, Le Canal du Loing ; été de la Saint-Martin
  • 974, Une après-midi du milieu de l’été
  • 975, Le Soleil couché
  • 976, Le Chantier à Matrat
  • 977, Moret au soleil couchant ; temps orageux
  • 978, Soleil de printemps

 

1894:

  • 1062, Une vieille église ; l’après-midi
  • 1063, Une vieille église ; le matin au soleil
  • 1064, Une vieille église ; par la pluie
  • 1065, Une vieille église ; après la pluie
  • 1066, Derniers jours d’automne
  • 1067, Temps de pluie sur le Loing
  • 1068, En été au bord de l’eau
  • 1069, La porte de Bourgogne à Moret

 

1895:

  • 1141, Une meule de paille (en octobre) ; Appartient à M. Tavernier
  • 1142, Les peupliers (fin d’automne)
  • 1143, Moret (temps pluvieux)
  • 1144, Le sentier du bord de l’eau à Sahurs (le soir)
  • 1145, Ferme normande (matinée de juin)
  • 1146, Les coteaux de la Bouille et la prairie de Sahurs
  • 1147, Vieille ferme ; Appartient à M. Depeaux
  • 1148, Les foins à Sahurs ; Appartient à M. Depeaux

 

1896:

  • 1149, Eglise de Moret (le soir)
  • 1150, Eglise de Moret (temps de pluie) ; (Appartient à M. le Dr Viau)
  • 1151, A Saint-Mammès (soleil de juin) ; (Appartient à M. Décap)
  • 1152, Autour de la forêt (le matin)
  • 1153, Autour de la forêt ; le vieux noyer
  • 1154, Autour de la forêt ; le vallon
  • 1155, A Moret (le soir) ; (Appartient à M. Depeaux)

 

1897:

Sisley doesn’t exhibit.

 

1898:

In the catalogue the Société nationale des Beaux-Arts is shortened to SNBA.

  • 1132, A Penarth
  • 1133, La rade de Cardiff
  • 1134, Lady’s Cove (avant l’orage)
  • 1135, Lady’s Cove (la marée montante)
  • 1136, La vague (baie de Langland)