Genuine counterfeiting. Oil on canvas, 50x60 cm, signed Sisley. The lower left corner does not seem like the painting in general. Signing and the color seems amateurish painted. Parts of the green bottom paint has gone over the signature. There is no clear and distinct signatures. The painting is set in a typically English way, and perhaps painted around the turn of the century, 1890-1920. Sisley was one of Impressionist protagonists. The painting is impressionistic in style, but rather more like Corot's outdoor painting. It is not made of Corot, but is more akin to his tradition than by Sisley. The painting is not done by Sisley. The District Court's assessment: The painting is not done or signed by Sisley and is therefore a forgery.
Äkta förfalskning. Oljemålning på duk, 50x60 cm, signerad Sisley. Det finns någonting i nedre vänstra hörnet som inte stämmer med målningen i övrigt. Signeringen och färgen verkar påsmetad lite hur som helst. Delar av den gröna bottenfärgen har gått över signaturen. Det är inte någon klar och distinkt signering. Målningen är uppsatt på ett typiskt engelskt sätt och är kanske målad omkring sekelskiftet, 1890-1920. Sisley var en av impressionismens förgrundsgestalter. Tavlan är inte impressionistisk i stilen utan är snarare mer lik Corots friluftsmåleri. Den är inte gjord av Corot men är mer besläktad med dennes tradition än med Sisleys. Målningen är inte utförd av Sisley. Tingsrättens bedömning: Målningen är ej utförd eller signerad av Sisley och är således en förfalskning.
Oil on canvas 61x90 cm. Part of a larger seizures of counterfeit art in Stockholm, Sweden, where the artwork of many famous artists were found. For example, Gustav Rudberg, Edouard Manet, Michael Ancker, August Renoir, Lars Norrman and several others. Many of them were started but not finished.
Olja på duk 61x90 cm. Ingår i ett större beslag av förfalska konst i Stockholm där konstverk av flera kända konstnärer påträffades. Bl.a. Gustav Rudberg, Edouard Manet, Mikael Ancker, August Renoir, Lars Norrman m.fl. Många av dom var påbörjade men ej färdigmålade.
Alfred Sisley was an English Impressionist landscape painter who was born, and spent most of his life, in France. Sisley is generally recognized as the most consistent of the Impressionists in his dedication to painting landscape en plein air (i.e., outdoors). He never deviated into figure painting and, unlike Renoir and Pissarro, never found that Impressionism did not fulfill his artistic needs.
Among his most important works are a series of paintings of Thames, executed in 1874, and various landscapes depicting places in or near Moret-sur-Loing.
Alfred Sisley was born in Paris to affluent English parents. His father William Sisley was in the silk business, and his mother Felicia Sell was a cultivated music connoisseur. In 1857, 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 in 1861. Beginning in 1862 he studied at the atelier of Swiss artist Marc-Charles-Gabriel Gleyre, where he became acquainted with Frédéric Bazille, Claude Monet, and Pierre-Auguste Renoir. Together they would paint landscapes en plein air rather than in the studio, 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. Their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a better position than some of his fellow artists, for he received an allowance from his father.
In 1866 Sisley began a relationship with Eugénie Lesouezec (1834–1898; also known as Marie Lescouezec), a Breton living in Paris. The couple produced two children: son Pierre (born 1867) and daughter Jeanne (1869). At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, the gathering place of many Parisian painters. In 1868 his paintings were accepted at the Salon, but the exhibition did not bring him any financial or critical success, and neither did any of the subsequent exhibitions.
The Franco-Prussian War began in 1870, and as a result, Sisley\\\\\\\'s father\\\\\\\'s business failed. The painter\\\\\\\'s sole means of support became the sale of his works. For the remainder of his life he would live in poverty, for his paintings only rose significantly in monetary value after his death. Occasionally, however, Sisley would be backed up by his patrons: this allowed him, among other things, to make a few brief trips to England. The first of these occurred in 1874 after the first independent Impressionist exhibition. The result of a few months spent near London was a series of nearly twenty paintings of the Upper Thames near Molesey, which was later described by art historian Kenneth Clark as \\\\\\\"a perfect moment of Impressionism.\\\\\\\"
Until 1880, Sisley lived and worked in the countryside west of Paris; then Sisley and his family moved to a small village near Moret-sur-Loing, close to the forest of Fontainebleau where the painters of the Barbizon school had worked earlier in the century. Here, as art historian Anne Poulet has said, \\\\\\\"the gentle landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the rampaging ocean or the brilliantly colored scenery of the Côte d\\\\\\\'Azur. In 1881 Sisley made one more brief voyage to England.
In 1897 Sisley and his partner visited Wales and were finally married in Cardiff Register Office on 5 August. They stayed at Penarth until fall, then returned to France. This was Sisley\\\\\\\'s last voyage to his ancestral homeland. The following year he applied for French citizenship but was refused; a second application was made and supported by a police report, however illness intervened, with Sisley remaining English till his death. The painter died in Moret-sur-Loing at the age of 59, just a few months after the death of his wife.