Sequencing: Art Case

Discovery of Sequencing Motif

The energy and movement of the circular white brushstrokes on the pathways in 'The Footbridge’ ©1867 and 'Sous Bois’ belong to the
hand of Sisley.
Therefore, Sisley memorised his own early work in the examples of Sequencing (See Page: Nuance of Brushstroke 'Sous Bois’)

SEQUENCING COMPARISON

The sequence of the features and their positioning in 'The Path at Sablons’ and 'Snow Scene, Moret Station’ can be listed.

The Path at Sablons
©1883

Snow Scene, Moret Station
1888

The Footbridge
©1867

Poplar

Central Poplar

Poplar and Figure

Roof Angles Creating 'Stage Effect’

Pathway Into The Distance

Triangular Position of Poplars

’MEMORISING THE SEQUENCING’ ALFRED SISLEY

Possibly related to a poignancy about 'The Footbridge’ painting , a lost canvas.

Captured in time the likely figure of Eugenie Lescouezec approaching the monogram fused in to the flow of water. In this way, Sisley personalises and shares the achievement of the painting itself.

Examples of Sequencing belong to distinct periods in the artist’s life:

Early 1870’s ’The Lesson’ monogram
Resuming an artistic collaboration at Louvecienne with his close friend, Renoir.
Following the 1860’s period of plein air painting in the forest of Fontainbleau.

Year 1883 The Path at Sablons
Edouard Manet died on 30th April 1883.
The central figure of the Batignolles Group at Cafe Guerbois in the late 1860’s.
The funeral on 3rd May 1883 was hugely attended in Paris.
Sisley attended and met-up with Pissarro, Monet and Renoir.

Late 1880’s Snow Scene, Moret Station
Sisley Increasingly withdrew from the Impressionist Group re-unions held in Paris.
The funeral of Edouard Manet was the last time he saw Renoir.