On the Hills of Moret in Spring – Morning 1880

Editor: Here we have Alfred Sisley’s “On the Hills of Moret in Spring – Morning,” painted in 1880 using oil paints. The layering of the colors and the slightly blurred edges of everything creates this incredible feeling of atmosphere. What draws your eye as you look at the work? Curator: The first thing that strikes me is the formal arrangement. Notice how the composition is structured through a series of diagonal lines, starting with the hill in the foreground and leading towards the distant village. Observe the artist's manipulation of color. Editor: Yes, the palette is quite restrained, isn't it? It almost feels muted, but still, spring-like. Curator: Precisely. Sisley uses a limited range of colors – primarily greens, blues, and earth tones – but look closely and observe how he achieves a remarkable sense of light and atmosphere through subtle variations in hue and tone. Consider how these elements contribute to the overall structure and harmony of the painting. Editor: It’s interesting to think about how he captured that specific morning light by just considering shapes and composition first. Curator: Exactly! In the absence of deep or dramatic color changes, the structure takes precedence, giving a new language to landscape painting by means of his impasto strokes. A close inspection also highlights the very intentional nature of color shifts across the horizontal axes, dividing it to an ordered arrangement. Editor: I never considered approaching impressionism with that mindset. I guess it’s easy to focus on the colors first. Thank you for helping me analyze those compositional choices! Curator: You’re most welcome! Sometimes, looking at fundamental arrangement yields the most insight.