‘The Footbridge’ monogram
Rue de village a Marlotte 1866
Initials of the monogram match the earlier form of Sisley’s signature.
'A’ : capital and angled to the left
'S’ : similarly curved
Placing the monogram in close proximity to the female figure, likely his partner Eugenie Lescouezec, has all the resonance of 'personal ties’.
See pages: Origin of the Footbridge Monogram, The Footbridge Figure.
‘MISDIRECTION’ TECHNIQUE
The ‘focus’ of the painting is the figure approaching the footbridge.
The geometry of composition (receding verticals of the footbridge and prominent roof angles) create a stage effect for the figure.
Attention is quickly drawn away from the area around the second pier, where the monogram is located.
‘CAMOUFLAGE’ TECHNIQUE
Fusing the initials into the flow of water, cleverly camouflages the monogram into the structure of the painting.
The monogram is further made unobtrusive by the optical separation of the ‘A’ and ‘S’.
Determining the design of the monogram, which Sisley replicates in 'The Lesson’.
‘A’ and the ‘dot’ are painted in pure white.
‘S’ is painted in pale white / grey.
The capital ’A’ has an extremely low cross-bar. Sisley allows himself a 'typographical license’ to effect the fusing of the initial in the flow of water.
See Page: ’The Lesson’ monogram
SLOW-FLOWING RIVER Black and White Hues
The black and white hues and the position of the stone-pier are matched in 'The Lesson’ monogram and are an early example of the 'Sequencing Motif’. See Page: Sequencing: 'The Lesson’ monogram
The black and white hues contrast with the silvery skyline and colors of the Impressionist Palette on the pathway and blue hues of the woodland scene. Quite deliberately, drawing attention away from the slow-flowing river and the location of the unobtrusive monogram.