Alfred Sisley

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Alfred Sisley DOSSIER PÉDAGOGIQUE une exposition 2 DOSSIER PÉDAGOGIQUE SOMMAIRE SISLEY L’IMPRESSIONNISTE L’exposition ......................................................................................................... p.6 Manifeste ............................................................................................................. p.7 Le parcours ......................................................................................................... p.8 ALFRED SISLEY Les dates ............................................................................................................. p.13 Portrait ................................................................................................................ p.14 IMPRESSIONNISME ET SOCIÉTÉ Contexte .............................................................................................................. p.15 Chronologie des mouvements ........................................................................... p.17 L’Impressionnisme ............................................................................................. p.19 EXPLORATIONS Pistes .................................................................................................................. p.21 VOTRE VISITE Visuels disponibles ............................................................................................ p.29 Informations pratiques ...................................................................................... p.32 3 AVANT-PROPOS Ce dossier est conçu pour les enseignants et les personnels encadrants des structures socioculturelles. Il propose des questionnements, des outils méthodologiques et des pistes d’exploitation pédagogique en prolongement. En regard des nouveaux programmes de l’Édu- cation nationale, il a pour mission de favoriser une approche contextualisée et perspective des œuvres. © S. Lloyd Classé Monument Historique, l’Hôtel de Caumont est l’un des plus beaux hôtels particuliers d’Aix-en-Provence datant du XVIIIème siècle. Situé à quelques pas du cours Mirabeau, dans le quartier Mazarin, il a fait l’objet d’une complète restauration afin d’accueillir depuis mai 2015, un nouveau Centre d’Art. Ouvert à toutes formes d’art, il a pour vocation de présenter deux expositions temporaires par an, dédiées aux grands noms de l’histoire de l’art, de l’art ancien à nos jours. Restituant l’atmosphère et l’esthétique caractéristiques du XVIIIème siècle, l’Hôtel de Caumont - Centre d’Art est un lieu majeur de la vie culturelle aixoise, où l’on découvre et partage l’art avec passion. 4 REPÈRE 5 SISLEY L’EXPOSITION l’impressionniste Alfred Sisley Paysage à Andresy, 1875 Huile sur toile, 46 x 55 cm © Alon Zakaim Fine Art, London & Stern Pissarro Gallery, London L’Hôtel de Caumont - Centre d’Art à Aix-en-Provence accueille Sisley, l’impressionniste, la première exposition monographique consacrée à cet artiste en France depuis 2002. Couvrant l’ensemble de la carrière de Sisley, depuis les œuvres présentées au Salon de 1866 jusqu’à ses vues du bourg pittoresque de Moret-sur-Loing dans les années 1890, l’exposition explore l’ascendance artistique de Sisley et sa relation avec ses compagnons impressionnistes. Le visiteur est invité à découvrir les stratégies picturales radicales de Sisley dans la décennie 1870, l’influence des estampes japonaises, de la photographie, de l’art hollandais du XVIIe siècle mais aussi de Constable et J. M. W. Turner sur sa pratique, ainsi que la relation entre son œuvre graphique et sa peinture. L’accent est mis également sur les deux dernières décennies de sa vie pendant lesquelles son art de peindre en plein air témoigne d’une exécution toujours aussi vigoureuse, et une démarche toujours plus résolue. Grâce au commissariat de MaryAnne Stevens, historienne de l’art indépendante et spécialiste internationalement reconnue de l’artiste, l’exposition Sisley, l’impressionniste livre un panorama complet de l’œuvre de Sisley, tout en proposant de nouveaux éclairages. En mettant en évidence les qualités remarquables de son œuvre, elle permet aussi de reconsidérer la place de Sisley au sein de l’impressionnisme et, plus largement, du milieu artistique français de la seconde moitié du XIXe siècle. 6 SISLEY MANIFESTE l’impressionniste Alfred Sisley fut probablement le plus puriste des impressionnistes. Tout au long de sa carrière, il est resté fidèle à la division des tons, aux effets passagers de la lumière, grâce à une réceptivité exceptionnelle aux changements atmosphériques. Il a peint en plein air, consciencieusement, par tous les temps, enregistrant ses sites préférés - Louveciennes, Marly-le-Roi, Moret, Saint-Mammès - avec une multitude de détails, en toute saison et sous les ciels les plus changeants. Alors que, dans leur maturité, Monet et Renoir ont pu évoluer à l’encontre des principes de base de l’impressionnisme, Sisley a maintenu le cap et créé un corpus d’œuvres doté d’une remarquable cohérence interne et d’une autorité fondée sur la persévérance. Puisque nous ignorons presque tout de sa vie, son art doit parler par lui-même ; et il le fait avec une beauté envoûtante. On a beaucoup évoqué la double nature de ses origines - un français avec des racines anglaises. Dans toute l’histoire de l’art, il n’est pas d’équivalent qui dérive ainsi en parts égales de Corot et de Constable. Sisley possède une manière individuelle et caractéristique qui récompense l’obseva- teur disposé à s’intéresser de près à une retrospective comme celle-ci. Alfred Sisley Pont de Sèvres, 1877 Huile sur toile, 38.7 x 56 cm © Photograph courtesy of Richard Green Gallery, London 7 SISLEY PARCOURS DE L’EXPOSITION l’impressionniste LA NATURE AU CŒUR DE L’ŒUVRE Paris, Forêt de Fontainebleau, Argenteuil. Les premiers tableaux que Sisley expose au Salon, en 1866, peints en bordure de la forêt de Fontainebleau, montrent l’engagement de l’artiste dans la peinture de paysage, telle qu’elle a été définie à partir des années 1830 par Corot et les peintres de l’École de Barbizon. Sisley cherche ses premiers motifs dans le territoire de ces peintres, mais aussi dans les quartiers ouest de Paris, à proximité de Saint-Cloud et de Ville-d’Avray, très fréquentés par Corot. Lorsqu’il entre dans l’atelier de Charles Gleyre, en octobre 1862, Sisley fait la connaissance de Pierre-Auguste Renoir, Frédéric Bazille et Claude Monet. Tandis que, vers le milieu des années 1860, il utilise une touche large et chargée qui définit fermement les objets, son pinceau s’allège et s’assouplit sur la toile au fur et à mesure que l’artiste tente d’y introduire plus d’atmosphère : la fraîcheur du matin dans une vue des Batignolles, ou la qualité limpide de la lumière reflétée par les eaux du canal de l’Ourcq. La guerre franco-prussienne, qui éclate le 19 juillet 1870, marque une rupture importante dans la carrière de l’artiste. Les troupes prussiennes occupent Bougival et l’atelier de Sisley est détruit. Le peintre perd tout ce qu’il possède, ce qui explique le faible nombre d’œuvres qui subsistent de cette époque et des années précédentes. Le 28 janvier 1871, le siège est levé après la signature de l’armistice par le gouvernement de la Défense nationale et les Prussiens. Suivent les deux mois de la Commune, marqués par des combats sanglants et des destructions. Pendant cette période cri- tique, Sisley reste avec Renoir dans Paris assiégé. Ils pleurent la perte de Bazille, leur ami proche, tué dans la bataille de Beaune-la-Rolande le 28 novembre 1870. Il avait vingt-huit ans. LA SEINE, THÉÂTRE DE L’IMPRESSIONNISME Dans les années 1870, le bassin de la Seine est un terrain commun de découverte pour Sisley et ses amis, qui, en 1874, donnent vie au mouvement impressionniste. Après la défaite de la Commune de Paris, en 1871, Sisley s’installe à Louveciennes, sur les bords de la Seine, entre Bougival et Port-Marly. C’est dans ce village que les parents de Renoir habitent en 1868 et que Pissarro réside depuis 1866. En 1872 et en 1876, Sisley séjourne chez Monet à Argenteuil où, à différentes reprises, les deux artistes ont traité les mêmes motifs. Durant la période comprise entre 1872 et 1876, se déplaçant d’une localité à l’autre, Sisley aborde tout l’éventail des effets impressionnistes dans une grande diversité de motifs : la gelée blanche, la brume, le brouillard d’automne, la rosée du matin, les hauts nuages de juillet, le ciel menaçant en hiver, les averses en été. Il ne force pas la note, il n’y met pas de drame : avec un lyrisme apparemment facile, il regarde et enregistre la scène, qu’il étaye par une discrète architec- ture formelle. Argenteuil, Villeneuve-la-Garenne et Louveciennes. Situés sur les bords de la Seine, les villages d’Argenteuil et de Villeneuve-la-Garenne sont relativement accessibles depuis Paris. Sisley les peint lors de trois campagnes entre le début du printemps et l’été 1872. Il choisit des paysages qui se prêtent à des explorations 8 SISLEY l’impressionniste spatiales ouvertes, sur les côtés comme en profondeur, comme le voulaient les conventions traditionnelles de la peinture de paysage, mais il adopte les premières techniques impression- nistes : le fond est préparé dans des tons clairs, la palette est lumineuse et les masses sont décrites par des empâtements appliqués à l’aide d’une large brosse. Les ombres sont encore marquées en noir, par opposition avec les tons bleus ou violets que les impressionnistes vont progressivement introduire au début des années 1870. Sisley emploie aussi une large palette de verts, pour représenter les arbres qui bordent les routes et les rives herbeuses
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