French 1839-1899 Alfred Sisley Galleries Alfred Sisley (October 30, 1839 ?C January 29, 1899) was an English Impressionist landscape painter who was born and spent most of his life in France. Sisley is recognized as perhaps the most consistent of the Impressionists, never deviating into figure painting or finding that the movement did not fulfill his artistic needs. Sisley was born in Paris to affluent English parents; William Sisley was in the silk business, and his mother Felicia Sell was a cultivated music connoisseur. At the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris. Beginning in 1862 he studied at the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Fr??d??ric Bazille, Claude Monet, and Pierre-Auguste Renoir. Together they would paint landscapes en plein air (in the open air) in order to realistically capture the transient effects of sunlight. This approach, innovative at the time, resulted in paintings more colorful 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. Unlike some of his fellow students who suffered financial hardships, Sisley received an allowance from his father??until 1870, after which time he became increasingly poor. Sisley's student works are lost. His earliest known work, Lane near a Small Town is believed to have been painted around 1864. His first landscape paintings are sombre, coloured with dark browns, greens, and pale blues. They were often executed at Marly and Saint-Cloud.  Related Paintings of Alfred Sisley :. | La Seine a Saint-Mammes | Dorf am Ufer der Seine | Saint-Martin in Paris | Banks of the Seine near Bougival | Rue de Princesse,Louveciennes |
Related Artists:
Master of Avila
15 Master of Avila Nativity 1474-76 Oil on wood Museo Lezaro Galdiano, Madrid This is the finest work of the master, it forms part of a triptych as the central panel. The left panel was the Annunciation to the Shepherds while the right panel represented the Annunciation to the Magi. The composition follows the example of Gallego's paintings and the use of the cool colors
haaken gullesons
Ytterlännäs parish, in the province of Ångermanland, belonged to the Archdiocese of Uppsala in the Middle Ages, but has been part of the Diocese of Härnösand since that was formed in 1647. The two churches of he parish, the old one from the early 13th century, and the new one from 1848-1854, are located between the communities of Nyland and Bollstabruk, within Kramfors Municipality. The Ytterlännäs New Church taken into use in 1854 is an example of the style known as a tegnarlada ("Tegnor barn") - spacious, white, clean, neo-classical. The Ytterlännäs Old Church (Ytterlännäs Gamla Kyrka) dates from the 1200s and features medieval vaults, wall-paintings and wooden sculptures, and baroque furnishings including the unusual feature of two galleries; the Ytterlännäs Madonna is regarded by experts as a particularly fine example of the work from the Hälsingland workshop of Haaken Gulleson, all in an excellent state of preservation thanks to the church's being abandoned after 1854.
Marten van Cleve
Flemish, 1527-1581,Brother of Hendrik van Cleve III. His presumed date of birth is derived from a document of 2 April 1567 in which he declared his age to be 40. In 1551-2 he became a master in the Antwerp Guild of St Luke and, according to van Mander, followed his brother into the studio of Frans Floris. If this is correct, it was probably c. 1553-5, for motifs drawn from Floris's work appear in Marten van Cleve's paintings executed during these years. Marten married Maria de Greve on 7 January 1556, apparently setting up his own studio at about the same time. Apprentices are regularly recorded from 1558 onwards, and it is probable that his own sons, Gillis II, Marten the younger, Joris and Nicolaas, also worked in the studio. Throughout the 1560s and 1570s Marten van Cleve's workshop was very productive, but the majority of works painted consisted of copies of his own originals. Van Mander's statement that the artist collaborated with a number of landscape painters, including his brother Hendrik III, Gillis van Coninxloo III, Gillis Mostaert and Jacob Grimmer, is confirmed by 17th-century inventories.