Discover all 14 City of Paris museums

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Jean-Baptiste-Camille Corot - Marietta, or Roman Odalisque
Jean-Baptiste Carpeaux - Mademoiselle Fiocre
Louis-Ferdinand  Lachassaigne - Vase - Van Dyck painting his first canvas
Charles Durand dit Carolus-Duran - Mademoiselle de Lancey
Jean-Auguste-Dominique Ingres - Francis I Receives the Last Breaths of Leonardo da Vinci
Fernand Pelez - The Death of Emperor Commodus
Eugène Delacroix - Combat of the Giaour and the Pasha
Jacob Mardochée known as Jacob Petit - Mameluke clock
Jean-Baptiste Carpeaux - Buste de Samuel Welles de La Valette
Gustave Courbet - Courbet au chien noir
Édouard Manet - Portrait of Théodore Duret
Louis Léopold Boilly - Portrait of Mademoiselle Athénaïs d’Albenas
Paul Gauguin - Old Man with a Stick
Jean-Baptiste Carpeaux - Ugolino
Jan  Van Beers   - Les funérailles de Charles le Bon, Comte de Flandre, célébrées à Bruges dans l’église Saint-Christophe le 22 avril 1127
Gustave Courbet - La sieste pendant la saison des foins (montagne du Doubs)
Alfred de Dreux - Portrait of Mr and Mrs Mosselman and their two daughters
Jean-Désiré Ringel d'Illzach - Portrait of Jeanne et Mrs Albert Dammouse
Octave  Penguilly L’Haridon  - Côtes de Belleville
Gustave Doré - The Vale of Tears
Gustave Doré - L’Ascension

The Church at Moret (Evening)

Paris, 1839 – Moret-sur-Loing, 1899
Oil on canvas
101 x 82 cm

An impressionist from the early days, mainly attracted by the landscapes of Ile de France, the British painter Alfred Sisley always worked near to the places where he lived.

During the last years of his life, he chose to reside in Moret-sur-Loing, near to Fontainebleau forest.
He painted fifteen or so paintings of his village church at various times of day and in different seasons. The one on display here was executed on a fine evening in 1894. Based on the second floor of a house by Place de Moret, Sisley projected his visual impressions directly onto the canvas. The clear, bold colours applied in small strokes capture the fleeting effects of the evening light. The horizon line placed at the bottom leaves a wide surface area for the sky, which is azure blue with a pearly pink cloud.

Despite the spontaneity of this vision, in this painting we also find the architectonic rigour and search for depth that characterised all the painter’s compositions.
The City of Paris acquired this work when it was exhibited in 1896, at the Salon of the National Society of Fine Arts.

Inventory number: 
Inventory number : PPP00118
Acquisition details : Purchase, 1896
Room 7. Monet and landscape painting
The 19th century
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