1876, Alfred Sisley, The Watering Pond at Marly with Hoarfrost -- Virginia Museum of Fine Arts (Richmond)
From the museum label:
Sisley began studying at the École des Beaux-Arts in 1862 and became acquainted with Monet, Renoir, and Bazille. They began painting together outdoors, and Sisley developed a strong propensity for conveying the atmospheric conditions he observed.
Sisley lived in Marly-le-Roi, about nine miles outside Paris, from 1875 to 1877. He painted twelve views of the watering pond there-a remnant of the 17th-century system of aqueducts, pools, and fountains that provided the landscape setting for the Château de Marly, the country retreat of Louis XIV. By the time Sisley moved to Marly, the château had been demolished and the pond functioned as a place for washing clothes and watering horses. This painting is a clear example of his restrained use of effects, which were much more subdued than those employed by fellow artists like Monet. The pale palette demonstrates his concern for faithfully representing the tranquil sky and the light of the dull winter sun as it casts its faded glow on the stucco walls and tarnished snow of the quiet suburban region.
1876, Alfred Sisley, The Watering Pond at Marly with Hoarfrost -- Virginia Museum of Fine Arts (Richmond)
From the museum label:
Sisley began studying at the École des Beaux-Arts in 1862 and became acquainted with Monet, Renoir, and Bazille. They began painting together outdoors, and Sisley developed a strong propensity for conveying the atmospheric conditions he observed.
Sisley lived in Marly-le-Roi, about nine miles outside Paris, from 1875 to 1877. He painted twelve views of the watering pond there-a remnant of the 17th-century system of aqueducts, pools, and fountains that provided the landscape setting for the Château de Marly, the country retreat of Louis XIV. By the time Sisley moved to Marly, the château had been demolished and the pond functioned as a place for washing clothes and watering horses. This painting is a clear example of his restrained use of effects, which were much more subdued than those employed by fellow artists like Monet. The pale palette demonstrates his concern for faithfully representing the tranquil sky and the light of the dull winter sun as it casts its faded glow on the stucco walls and tarnished snow of the quiet suburban region.