Sisley was exclusively a landscape painter, who, in the line of Corot, and with Monet, best sought and succeeded in expressing the most subtle nuances of nature in Impressionist landscapes. British by his birth and his nationality, though he lived in France, he is also in the tradition of Constable, Bonington and Turner. ... In 1864, at the same time as his friends, he leaves the School of Fine Arts at the moment Charles Gleyre ceases teaching there, and devotes himself to painting in open air in the area of Fontainebleau, at Chailly-en-Bière, then in Marlotte from 1865 to 1866, while living thanks to financial support which his father offers to him. http://www.impressionniste.net/sisley_alfred.htm
Sisley was exclusively a landscape painter, who, in the line of Corot, and with Monet, best sought and succeeded in expressing the most subtle nuances of nature in Impressionist landscapes.
British by his birth and his nationality, though he lived in France, he is also in the tradition of Constable, Bonington and Turner. ...
In 1864, at the same time as his friends, he leaves the School of Fine Arts at the moment Charles Gleyre ceases teaching there, and devotes himself to painting in open air in the area of Fontainebleau, at Chailly-en-Bière, then in Marlotte from 1865 to 1866, while living thanks to financial support which his father offers to him.
http://www.impressionniste.net/sisley_alfred.htm
Hey, Grandma Moses started late!
With Sisley disappeared the only great Impressionist painter who did not meet success in his lifetime, in spite of moral and financial support offered to him by art dealers Paul Durand-Ruel and George Petit, and their efforts to have his work exhibited in Paris and abroad. However, a year after his death, his painting "Flood at Port-Marly" (Orsay Museum - Paris) reached a high bidding at the Tavernier sale of March 6, 1900, while being sold to Count Isaac de Camondo. The success, which had been denied to Sisley during his life, stuck thus to his name as of the year following his death. http://www.impressionniste.net/sisley_alfred.htm
With Sisley disappeared the only great Impressionist painter who did not meet success in his lifetime, in spite of moral and financial support offered to him by art dealers Paul Durand-Ruel and George Petit, and their efforts to have his work exhibited in Paris and abroad.
However, a year after his death, his painting "Flood at Port-Marly" (Orsay Museum - Paris) reached a high bidding at the Tavernier sale of March 6, 1900, while being sold to Count Isaac de Camondo. The success, which had been denied to Sisley during his life, stuck thus to his name as of the year following his death.
:)
N f8; and be there...
ah yes...as an occasional performer of live music myself, there are two ways to look at this phenomenon, imo.
first is, only great bands can shut up the oiks, as slowly the latter become aware that history is being written in front of their ears ( i saw this happen in london frequently during the 60's), and eventually the boorish element is displaced by fans...
second, there is a race of morons who actually have no interest in (supporting) live music per se, and just use it as a backdrop for their own egos to act out...
as in doing an acoustic gig, and having a couple sit at the nearest table in front of me and commence to have loud and stupid conversation.
they want the heat without the light!
also england is a particular country in its peoples' enjoyment of inflicting disdain, while affecting diffidence.
on the continent people are less embarrassed to take the risk of wholeheartedly liking something. ~"When an inner situation is not made conscious, it appears outside as fate." Karl Jung~
