Alfred Sisley, Bridge at Villeneuve-la-Garenne, 1872, Metropolitan Museum of Art

1. Impressionism Alfred Sisley, Bridge at Villeneuve-la-Garenne, 1872, Metropolitan Museum of Art

2. In 1874, a group of artists called the Anonymous Society of Painters, Sculptors, Printmakers, etc. organized an exhibition in Paris that launched the movement called Impressionism. Its founding members included Claude Monet, Edgar Degas, and Camille Pissarro, among others. The group was unified only by its independence from the official annual Salon, for which a jury of artists from the Académie des Beaux-Arts selected artworks and awarded medals. The independent artists, despite their diverse approaches to painting, appeared to contemporaries as a group. While conservative critics panned their work for its unfinished, sketch like appearance, more progressive writers praised it for its depiction of modern life. Edmond Duranty, for example, in his 1876 essay La Nouvelle Peinture (The New Painting), wrote of their depiction of contemporary subject matter in a suitably innovative style as a revolution in painting. The exhibiting collective avoided choosing a title that would imply a unified movement or school, although some of them subsequently adopted the name by which they would eventually be known, the Impressionists. Their work is recognized today for its modernity, embodied in its rejection of established styles, its incorporation of new technology and ideas, and its depiction of modern life.

3. Claude Monet, photo by Nadar, 1899.

4. "...the common concept which united them as a group and gives them a collective strength in the midst of our disaggregate epoch is the determination not to search for a smooth execution, but to be satisfied with a certain general aspect. Once the impression is captured they declare their role terminated... If one wants to characterise them with a single word that explains their efforts, one would have to create the new term, Impressionists. They are impressionists in the sense that they render not a landscape but the sensation produced by a landscape."Art Critic Jules Castagnary, in 1874

5. Claude Monet, Haystacks (sunset), 1890–1891, Museum of Fine Arts, Boston.

6. With these words, the art critic, Jules Castagnary, in 1874, gave a name, shape, and form to something that had heretofore lacked all three.The occasion was a review of the disastrous joint exhibition staged by a renegade group of disillusioned and disenfranchised artists as a direct affront to the hated Salon with whom they had grown tired of battling for admission. They were about 35 in number, some now household names, some unheard of then and now. (Edouard Manet was conspicuous by his absence.) They presented 163 works ranging from a few fairly academic pieces to three little outrages by Paul Cézanne that guards feared might be ripped apart by the crowd. They might have been right except for the fact there was no crowd. A few sympathetic critics praised the show, a few more clobbered it, and perhaps fortunately, most of them simply chose to ignore it. In large part, so did the public.

7. Attendance at the show was abysmal. There were 175 on the opening day and that dwindled to about 54 on the last day of the month-long exhibition. The show was unique in that it was open during the evenings, but attendance was seldom more than 10 to 20 during these hours, and sometimes as low as 2. Altogether, some 3,500 people paid one Franc each to see the show. Meanwhile, across town at the Salon, some 400,000 paid ten Francs to see over 4,000 works. There, Manet found he might as well have exhibited with the newly dubbed Impressionists in that, despite his best efforts, critics linked his name with the group and labelled his two Salon-accepted works as "intruders" appearing doubly ridiculous compared to those hung next to his. Even though Castagnary's words regarding the First Impressionist Exhibition were written in derision, his review was at least somewhat sympathetic and thoughtful, compared to many others ridiculing the show. Ironically, it was his words served to unite this group into a movement with a new name and a single direction, something they had lacked before

8. Claude Monet La cathédrale de Rouen, le portail et la tour Saint-Romain, plein soleil, harmonie bleue et or (Rouen Cathedral, the West Portal and Saint-Romain Tower, Full Sunlight, Harmony in Blue and Gold) dated 1894, painted 1893 (240 Kb); Oil on canvas, 107 x 73 cm (42 1/8 x 28 3/4 in); Musee d'Orsay, Paris

9. Key Artists: Working in FranceEugene Boudin 1824-1898 PainterCamille Pissarro 1830-1903 Caribbean/French PainterEdouard Manet 1832-1883 PainterEdgar Degas 1834-1917 Painter/SculptorAlfred Sisley 1839-1899 PainterClaude Monet 1840-1926  PainterFredric Bazille 1841-1870 PainterArmand Guillaumin 1841-1927  PainterBerthe Morisot 1841-1895  PainterPierre Auguste Renoir 1841-1919  PainterGustave Caillbotte 1848-1894  PainterEva Gonzales 1849-1883 PainterPaul Cezanne 1839-1906  Painter

10. Edgar Degas, L’Absinthe, Oil painting 1876, Musee d’Orsay, Paris

11. Impressionist Techniques ColourThe Impressionists distanced themselves from the sombre tones of earlier paintings. They generally avoided the use of black and earth colours and instead used light, vibrant colours to give their paintings luminosity and to capture the changing effect of sunlight on the scenes they painted. Bright, contrasting colours were put onto the canvas one next to or on top of each other, often without prior mixing or subsequent blending. Brush WorkIn order to convey the movement and changing nature of a passing moment, the Impressionists used quick, broken brushstrokes that were left without any further smoothing. This method allows the viewer to clearly see the traces of the brush and gives impressionist paintings an unfinished appearance. The Impressionists worked quickly, sometimes in one sitting, in order to capture the fleeting moment and to give their work a spontaneous feel.LocaleImpressionist painters often worked outdoors, not in a studio, to be in close touch with nature and to be able to directly observe the effects of changing sunlight, weather and movement.

12. InfluencesThe invention of the collapsible paint tubeColour theories of Michel Chevreul (1786-1889). Japanese artPhotographySocial change in modern life.Working en plein air “ in the open air"

13. InfluencesAfter Japanese ports reopened to trade with the West in 1853, a tidal wave of foreign imports flooded European shores. On the crest of that wave were woodcut prints by masters of the ukiyo- e school which transformed Impressionist and Post- Impressionist art by demonstrating that simple, transitory, everyday subjects from "the floating world" could be presented in appealingly decorative ways. Parisians saw their first formal exhibition of Japanese arts and crafts when Japan took a pavilion at the World's Fair of 1867. But already, shiploads of oriental bric-a-brac—including fans, kimonos, lacquers, bronzes, and silks—had begun pouring into England and France. The Old Plum, Edo period (1615–1868), ca. 1645 Attributed to Kano Sansetsu (Japanese, ca. 1589–1651)Four sliding door panels (fusuma); ink, colour, gold leaf on paper H. 68 3/4 in. (174.6 cm)Metropolitan Museum New York

14. Claude Monet La Japonaise (Camille Monet in Japanese Costume)1876Claude Monet, French, 1840–1926231.8 x 142.3 cm (91 1/4 x 56 in.)Oil on canvasMuseum of Fine Arts, Boston

15. The Impressionists broke the traditional rules of composition and opened their style to experimenting. In their attempts to capture a given moment, they omitted detail in favour of the overall effect of the painting. They looked at their subjects from unusual angles and often cropped or framed their work in a way that was new to painting. A scene is often captured as if in passing or through the lens of a camera (a new invention at the time that enabled the Impressionists to study movement and gesture in real-life situations). Mary Cassatt, Maternal Caress, 1891Drypoint and soft-ground etching, third state, printed in color 14 3/8 x 10 9/16 in. (36.5 x 27 cm)Metropolitan Museum Gift of Paul J. Sachs, 1916 (16.2.5)

16. Influences- en plein airIn the 1830s, a group of painters who settled in Barbizon, near the Fontainebleau Forest, became the first generation of French artists to reject idealized Italianate scenes in favour of naturalistic observations of their native land. Painters including Charles-François Daubigny and Pierre-Étienne Rousseau left their studios behind to sketch directly from nature (en plein air). In the 1850s, Daubigny constructed a floating studio on a small boat which he sailed along the Seine and Oise rivers in order to capture unrivalled views of their banks. Another hub of plein-air painting emerged in Normandy, along the English Channel, in the 1850s. There, Eugène Boudin painted scenes of well-heeled vacationers enjoying the beaches at Deauville and Trouville, and took the young Claude Monet under his wing after seeing his caricatures in a local shop window.

17. A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?), 1865Edgar Degas (French, 1834–1917) Oil on canvas 29 x 36 1/2 in. (73.7 x 92.7 cm)H. O. Havemeyer Collection, The Metropolitan Museum of Art.

18. The core of the earliest Impressionist group was made up of Claude Monet, Alfred Sisley and Pierre Auguste Renoir. Others associated with this period were Camille Pissarro, Fredric Bazille,, Edgar Degas, Gustave Caillbotte, Edouard Manet, and the American Mary Cassatt. The first Impressionist exhibition. This exhibition included painters Boudin, Degas, Cezanne, Guillaumin, Monet, Berthe Morisot, Pissarro, Renoir and Sisley. It opens April 15, 1874 in the former studio of photographer Nadar at 25 boulevard des Capucines The occasion was a review of the disastrous joint exhibition staged by a renegade group of disillusioned and disenfranchised artists as a direct affront to the hated Salon with whom they had grown tired of battling for admission. They were about 35 in number, some now household names, some unheard of then and now. (Edouard Manet was conspicuous by his absence.) They presented 163 works ranging from a few fairly academic pieces to three little outrages by Paul Cézanne that guards feared might be ripped apart by the crowd. They might have been right except for the fact there was no crowd. A few sympathetic critics praised the show, a few more clobbered it, and perhaps fortunately, most of them simply chose to ignore it. In large part, so did the public.

19. Slide number 31 Claude Monet Impression, Sunrise soleil levant.1873 Oil on canvas. 48 cm × 63 cm (18.9 in × 24.8 in) Musee Marmottan Museum, Paris

20. Claude Monet's Impression, Sunrise (Musée Marmottan Monet, Paris) exhibited in 1874, gave the Impressionist movement its name when the critic Louis Leroy accused it of being a sketch or "impression," not a finished painting. It demonstrates the techniques many of the independent artists adopted: short, broken brushstrokes that barely convey forms, pure unblended colours, and an emphasis on the effects of light. Rather than neutral white, greys, and blacks, Impressionists often rendered shadows and highlights in colour. The artists' loose brushwork gives an effect of spontaneity and effortlessness that masks their often carefully constructed compositions. This seemingly casual style became widely accepted, even in the official Salon, as the new language with which to depict modern life. Monet presents this view of the old outer port of Le Havre in the 1st exhibition of the Anonymous Society of Painters, Sculptors and Engravers

21. Slide number 32 Edgar Degas Little Dancer Aged Fourteen  1880-1, cast circa 1922Painted bronze with muslin and silkobject: 984 x 419 x 365 mm, 31 kg (integral base included)sculpture TATE Gallery. London

22. The model for this sculpture was a ballet student at the Paris Opéra, where Degas often drew and painted. Degas first made a reddish-brown wax sculpture of her in the nude. Then, aiming for a naturalistic effect, he dressed a three-quarter life-size wax sculpture of her in clothing made of real fabrics - cream-coloured silk for the bodice, tulle and gauze for the tutu, and fabric slippers. He also gave it real hair tied with a ribbon. When the wax sculpture was first exhibited, contemporaries were shocked by the unprecedented realism of the piece. But they were also moved by the work's representation of the pain and stress of ballet training endured by a barely adolescent girl. After Degas' death, his heirs decided in the early 1920s to make bronze casts - nearly thirty of them - of the wax original. In these versions, all is bronze except for the dancer's gauze tutu and silk ribbon. Recent investigation into the casting of this piece has shown how the founders attempted to match the colours and aged appearance of the original wax sculpture, which, by this point, had spent forty years in the artist's studio. Pigmented waxes, ranging in colour from pale orange through pink and brown, were rubbed into the flesh areas. The bodice was painted a cream colour, but a pigmented wax was applied to darken the lower part. The skirt was dipped in a mixture of animal glue and pigment in order to created an aged effect.

23. The Impressionists were excited by contemporary developments in colour theory which helped their search for a more exact analysis of the effects of colour and light in nature. They abandoned the conventional idea that the shadow of an object was made up from its colour with some brown or black added. Instead, they enriched their colours with the idea that the shadow of an object is broken up with dashes of its complementary colour. For example, in an Impressionist painting the shadow on an orange may have some strokes of blue painted into it to increase its vitality. Côte des Grouettes, near Pontoise, probably 1878Camille Pissarro (French, 1830–1903) Oil on canvas 29 1/8 x 23 5/8 in. (74 x 60 cm) Gift of Janice H. Levin, 1991 The Metropolitan Museum of Art

24. The next generation of forward-looking landscape painters, who adopted the name Impressionists in 1877, used this plein-air approach to capture scenes of modern life in urban and suburban settings. Setting up their easels in Paris and its suburbs, Monet, Auguste Renoir, and their colleagues eroded their predecessors' distinctions between sketch and finished work by creating deliberately informal compositions with loose strokes of unmodulated colour. They abandoned traditional techniques of perspective, chiaroscuro, and modelling in order to record their experiences as directly as possible. Even their most heavily worked paintings retain the appearance of spontaneity.

25. Like his colleagues Monet and Pissarro, Sisley lived outside of Paris, where accommodations were more affordable. There he painted tranquil landscapes populated by local villagers and fashionable Parisian vacationers. In this painting, bright sunlight tempered by dappled shade in the foreground exemplifies the Impressionists' attention to light effects. The scene's idyllic ambiance is typical of Sisley's work. Hayashi Tadamasha, a Japanese art collector and dealer living in Paris, was the painting's first owner. In 1913, Mrs. Havemeyer acquired the work for her collection of Impressionist art. Alfred Sisley Allée of Chestnut Trees Alfred Sisley (English, 1839–1899)Oil on canvas 19 3/4 x 24 in. (50.1 x 60.9 cm)Signed and dated in lower right corner: Sisley '78Robert Lehman Collection, 1975 Metropolitan Museum of Art

26. The Impressionists sought to capture the atmosphere of a particular time of day or the effects of different weather conditions on the landscape. In order to capture these fleeting effects they had to work quickly. They applied their paint in small brightly coloured strokes which meant sacrificing much of the outline and detail of their subject. Their painting technique put them at odds with the conservative Académie of the French artistic establishment who valued subtle colour and precise detail which was carefully crafted with great skill in the artist's studio. What the Académie failed to appreciate was the freshness of Impressionist colour and the energy of their brushwork which revealed a spontaneity that had only previously been valued in the sketches of the old masters. However, the public grew to love the vitality of the Impressionist technique and in time Impressionism grew to become the most popular movement in the history of art.

27. Slide number 33 Claude Monet Rouen Cathedral: Full Sunlight 1894; Louvre, Paris

28. "The older I become the more I realize of that I have to work very hard to reproduce what I search: the instantaneous. The influence of the atmosphere on the things and the light scattered throughout" Claude Monet, 1891"The climax of Impressionism". That's how the series of views of Rouen Cathedral painted by Claude Monet between 1892 and 1894 has been best described. The series - consisting of 31 canvases showing the facade of the Gothic Rouen Cathedral under different conditions of light and climate- caused an immediate admiration among the critics of his time, and was praised by many later masters, from Wassily Kandinsky to Roy Lichtenstein.

29. Slide number 34 Pierre Auguste Renoir, 1876, Oil on Canvas, 31 cm × 175 cm (52 in × 69 in) Musee d’ Orsay, Paris

30. Renoir delighted in `the people's Paris', of which the Moulin de la Galette near the top of Montmartre was a characteristic place of entertainment, and his picture of the Sunday afternoon dance in its acacia-shaded courtyard is one of his happiest compositions. In still-rural Montmartre, the Moulin, called `de la Galette' from the pancake which was its speciality, had a local clientele, especially of working girls and their young men together with a sprinkling of artists who, as Renoir did, enjoyed the spectacle and also found unprofessional models. The dapple of light is an Impressionist feature but Renoir after his bout of plein-air landscape at Argenteuil seems especially to have welcomed the opportunity to make human beings, and especially women, the main components of picture. As Manet had done in La Musique aux Tuileries he introduced a number of portraits. The girl in the striped dress in the middle foreground (as charming of any of Watteau’s court ladies) was said to be Estelle, the sister of Renoir's model, Jeanne. Another of Renoir's models, Margot, is seen to the left dancing with the Cuban painter, Cardenas. At the foreground table at the right are the artist's friends, Frank Lamy, Norbert Goeneutte and Georges Rivière who in the short-lived publication L'Impressionniste extolled the Moulin de la Galette as a page of history, a precious monument of Parisian life depicted with rigorous exactness. Nobody before him had thought of capturing some aspect of daily life in a canvas of such large dimensions. Renoir painted two other versions of the subject, a small sketch now in the Ordrupgard Museum, near Copenhagen and a painting smaller than the Louvre version in the John Hay Whitney collection. It is a matter of some doubt whether the latter or the Louvre version was painted on the spot. Rivière refers to a large canvas being transported to the scene though it would seem obvious that so complete a work as the picture in the Louvre would in any case have been finished in the studio

31. Slide number35 Mary Cassatt American, 1844-1926 The Child’s Bath, 1893 Oil on canvas 100.3 x 66 cm Robert A. Waller Fund, Art Institute of Chicago

32. Mary Cassatt was the only American to exhibit with the original Impressionistgroup. Like her friend Degas, she was a highly skilled draftsman who preferred un posed, asymmetrical compositions. In The Child's Bath, the circular shapes of the figures’ heads, the basin, and the pitcher, as well as the striped pattern of the woman’s dress animate the portrait of a woman bathing a child. Cassatt’s unusual vantage point (from above) as well as her choice of a female subject show her interest in Japanese woodblock prints, which had become extremely popular in France at the time.The theme of women caring for children appeared frequently in Cassatt’s art during and after the 1880s. In rendering this subject, the artist relied on keen observation rather than idealization, but still portrayed great intimacy. The woman’s gestures — one firm hand securing the child in her lap, the other gently caressing its small foot — are both natural and emblematic, communicating her tender concern for the child’s well-being. The two figures gaze in the same direction, looking together at their paired reflection in the basin of water.The many paintings, pastels, and prints in which Cassatt depicted children being bathed, dressed, read to, held, or nursed reflect the most advanced 19th-century ideas about raising children. After 1870, French scientists and physicians encouraged mothers (instead of wet- nurses and nannies) to care for their children and suggested modern approaches to health and personal hygiene, including regular bathing. In the face of several cholera epidemics in the mid-1880s, bathing was encouraged not only as a remedy for body odours but as a preventative measure against disease.

33. Berthe Morisot (French, 1841–1895)Young Woman Seated on a Sofa, ca. 1879Oil on canvas 31 3/4 x 39 1/4 in. (80.6 x 99.7 cm)Signed (lower left): Berthe Morisot

34. Slide number 36 Berthe Morisot Le berceau (The Cradle) 1872 (150 Kb); Oil on canvas, 56 x 46 cm (22 x 18"); Musee d'Orsay, Paris The models are her sister Edma and Edma's daughter Blanche.

35. Morisot, Berthe (b. Jan. 14, 1841, Bourges, Fr.--d. March 2, 1895, Paris) French painter and printmaker. The first woman to join the circle of the French Impressionist painters, she exhibited in all but one of their shows, and, despite the protests of friends and family, continued to participate in their struggle for recognition. Born into a family of wealth and culture, Morisot received the conventional lessons in drawing and painting. She went firmly against convention, however, in choosing to take these pursuits seriously and make them her life's work. Having studied for a time under Camille Corot, she later began her long friendship with Edouard Manet, who became her brother-in-law in 1874 and was the most important single influence on the development of her style. Unlike most of the other impressionists, who were then intensely engaged in optical experiments with colour, Morisot and Manet agreed on a more conservative approach, confining their use of colour to a naturalistic framework. Morisot, however, did encourage Manet to adopt the impressionists' high-keyed palette and to abandon the use of black. Her own carefully composed, brightly hued canvases are often studies of women, either out-of-doors or in domestic settings. Morisot and American artist Mary Cassatt are generally considered the most important women painters of the later 19th century.

36. After a chronic eye infection limited the amount of time Camille Pissarro could spend outdoors, he began a series of views of Paris seen from hotel windows. Hoping to show the beauty of the bustling city, he painted this view down the Avenue de L'opera and other vistas at different hours and seasons, and under varying weather conditions. Place du Théâtre Français, Paris: RainCamille Pissarro 1898Oil on canvas 29 x 36 in. (73.66 x 91.44 cm) Minneapolis Institute of Art

37. Paul CÉZANNE L'Après-midi à Naples [Afternoon in Naples] [Afternoon in Naples (L'Apres-midi a Naples)] 37.0 (h) x 45.0 (w) cm frame 62.3 (h) x 70.7 (w) x 10.5 (d) cm not signed, not dated Purchased 1985National Gallery of Australia

38. Paul Cézanne was born on 19 January 1839 in Aix-en-Provence, in the south of France. He trained initially as a lawyer and took drawing lessons at the local academy. His artistic aspirations were encouraged by his friend Emile Zola and in 1861 he abandoned his law studies and followed Zola to Paris. Discouraged by his first experience of Paris, Cézanne returned to Aix and took a job in his father's bank. In 1862 he returned to Paris and in 1863 exhibited at the Salon des Réfusés. Although Cézanne submitted works to the Salon every year from 1864 to 1869, invariably his paintings were rejected. In 1869 he met Hortense Fiquet and in 1872 their son, Paul, was born. Shortly afterwards Cézanne moved to Pontoise and worked closely with Camille Pissarro. He exhibited three paintings in the first Impressionist group exhibition of 1874, and contributed sixteen works to the third Impressionist exhibition in 1877. Disheartened by the critical reaction to his work, Cézanne retreated to the south of France. He again submitted works to the Salon but except in 1882, his works were rejected. In 1886 he married Hortense Fiquet and later that year his father died, leaving Cézanne a substantial income. In 1895 Ambroise Vollard organised Cézanne's first solo exhibition, to which the artist sent so many works ─ about 150 ─ that they had to be shown in rotation. Three of his paintings were shown at the Centenary Exhibition of French Art in Paris in 1900. In 1899, 1901 and 1902 he exhibited at the Salon des Indépendants and in 1904, 1905 and 1906 at the Salon d'Automne. The Paul Cassirer Gallery, Berlin, organised his second solo exhibition in 1904. Cézanne died in Aix on 23 October 1906

39. Cézanne's wife, Hortense Fiquet, was his most frequent model—he painted nearly thirty portraits of her. Posing for Cézanne demanded great patience, for he was a slow and painstaking worker and always required the presence of the model. This early portrait has a serene monumentality, its many small blocks of subtly varied colour locked into a harmonious whole. In one of his most frequently quoted statements, Cézanne said, "I want to make of Impressionism an art as solid as that of the museums." Paul Cezanne Madame Cézanne in a Red Armchairabout 1877 Oil on canvas 72.4 x 55.9 cm (28 1/2 x 22 in.)Museum of Fine Arts, Boston

40. Bibliography Museum Marmotten Monet Paris, http://www.marmottan.com Samu, Margaret. "Impressionism: Art and Modernity". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/imml/hd_imml.htm (October 2004) Accessed 31/9/09 John Malyn, Impressionism and post impressionism, Artcyclopedia. 2007 http://www.artcyclopedia.com/history/impressionism.html Jim Lane The first Impressionist exhibitionhttp://www.humanitiesweb.org/human.php?s=g&p=a&a=i&ID=226, 1998 (accessed 17/5/10) Impressionist technique http://www.artyfactory.com/art_appreciation/art_movements/impressionism.htm Ives, Colta. "Japonisme". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/jpon/hd_jpon.htm(October 2004)Auricchio, Laura. "The Transformation of Landscape Painting in France". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/lafr/hd_lafr.htm (October 2004) Nicholas Pinoch, Renoir, Pierre-Auguste, Le Moulin de la Galette http://www.ibiblio.org/wm/paint/auth/renoir/moulin-galette/ July 2002(Acessed 29/ 5/10) Mary Cassatt, Art Institute of Chicago,http://www.artic.edu/artaccess/AA_Impressionist/pages/IMP_6.shtml# CLAUDE MONET - THE ROUEN CATHEDRAL SERIES- THE CLIMAX OF IMPRESSIONISM http://www.theartwolf.com/monet_cathedral.htm Morisot, Berthe Web Museum of Art http://www.ibiblio.org/wm/paint/auth/morisot/ Goethe and Chevreul: Simultaneous Contrast http://www.webexhibits.org/colorart/simultaneous.html cited 30/5/10 Pamela Pelizzari Divisionist Color Theory andPainting Techniques Chevreul's Theories http://www.brown.edu/Courses/CG11/2005/Group161/SimultaneousColorContrast.htm Paul Cezanne Museum of Fine Arts , Boston,http://www.mfa.org/index.asp Alfred Sisley: Allee of Chestnut Trees (1975.1.211)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/1975.1.211 (October 2006) /