Alfred Sisley, Rue de la Princesse, Evening, 1875

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doi: 10.37764/78973.5.658
Artist	Alfred Sisley, English, born Paris, 1839–1899
Title	Rue de la Princesse, Evening
Object Date	1875
Alternate and Variant Titles	Rue de la Princesse, Winter; Route de la Princesse (le soir); La Route de la Princesse en hiver, hameau de Voisins, Louveciennes; Une Rue à Louveciennes – Le Soir; Rue de la princesse, l’hiver
Medium	Oil on canvas
Dimensions (Unframed)	24 x 19 5/8 in. (61 x 49.9 cm)
Signature	Signed and dated lower right: Sisley. 75
Credit Line	The Nelson-Atkins Museum of Art. Gift of Henry W. and Marion H. Bloch, 2015.13.25

Catalogue Entry

curatorial

Citation

Chicago:

Brigid M. Boyle, “Alfred Sisley, Rue de la Princesse, Evening, 1875,” catalogue entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2023), https://doi.org/10.37764/78973.5.658.5407.

MLA:

Boyle, Brigid M. “Alfred Sisley, Rue de la Princesse, Evening, 1875,” catalogue entry. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2023. doi: 10.37764/78973.5.658.5407.

On January 3, 1908, the fourth posthumous retrospective of Alfred Sisley’s oeuvre opened at Galeries Durand-Ruel.¹The show closed on February 8, 1908. Previous retrospectives had taken place at Durand-Ruel Galleries, New York (February 27–March 15, 1899); Galerie Rosenberg, Paris (November 7–24, 1904); and Bernheim-Jeune et Cie, Paris (December 2–14, 1907). It included more than fifty pictures produced between 1871 and 1888, among them Rue de la Princesse, Evening, which was being exhibited for the very first time.²Throughout this essay, different historical titles are used for the Nelson-Atkins painting. Originally titled Route de la Princesse (le soir) by Sisley, and often exhibited under this title (or variations thereof) in the early twentieth century, the picture is now generally known as Rue de la Princesse, Evening, as discussed below. Reactions were largely positive. Art critics Louis Vauxcelles and Georges Meusnier wrote flattering articles for Gil Blas and the Journal des artistes, and painter René François Xavier Prinet’s (1861–1946) review was nothing short of a panegyric.³See Louis Vauxcelles, “La Vie artistique: Retrospective Sisley,” Gil Blas, February 2, 1908; and Georges Meusnier, “Causerie de la semaine: Galeries parisiennes,” Journal des artistes, February 9, 1908. Prinet singled out Rue de la Princesse, Evening and several other works for particular praise:

Viewing a painting by Sisley is a purely physical pleasure; it’s a feast, a satisfied craving. . . . Beginning in 1874, his brushwork became looser, purer, and bolder, just as he was discovering less common effects and more delicate tones; this progress is already discernible in The Seine, 1874, in Route de la Princesse, 1875, and above all in Route de Marly at Port Marly, 1876.⁴René X[avier] Prinet, “Exposition Durand-Ruel: Sisley,” La Grande revue 47 (February 25, 1908): 814–15. “La vue d’un tableau de Sisley est une jouissance purement physique, c’est un régal, une gourmandise satisfaite. . . . Dès 1874, son exécution s’élargit, devient plus franche, plus hardie, en même temps qu’il découvre des effets plus rares et des valeurs plus délicates; ce progrès est déjà sensible dans la Seine, 1874, dans la Route de la Princesse, 1875, et surtout dans la Route de Marly à Port Marly, 1876.” All translations are by Brigid M. Boyle.

For Prinet, as for many contemporary scholars of Impressionism, Sisley was at his strongest and most innovative during the mid-1870s.⁵Richard Shone, for example, commented: &lquo;In the years from around 1872 to 1876, Sisley rarely puts a foot wrong.” See Richard Shone, “Between the Sky and the Water: Reflections on Alfred Sisley,” in MaryAnne Stevens, ed., Alfred Sisley: Impressionist Master, exh. cat. (Greenwich, CT: Bruce Museum, 2017), 26. A common assertion in the literature on Sisley is that his pictorial output dipped in quality after 1880, though MaryAnne Stevens and others have pushed back against this idea, arguing for the importance of his late-career series.⁶See MaryAnne Stevens, “Les vingt dernières années: déclin artistique ou maturation de l’impressionnisme?” in Alfred Sisley: Poète de l’impressionnisme, exh. cat. (Paris: Réunion des musées nationaux, 2002), 80–95.

Fig. 1. Detail of the inscription on *Rue de la Princesse, Evening*, reading “Sisley. 75”

The Kansas City picture is one of three paintings by Sisley depicting a two-story home at 2 rue de la Princesse, Louveciennes, which he and his family rented for approximately two and a half years. Two of the pictures are winter scenes, while the third represents late summer or early fall.⁷For the other paintings, see Sylvie Brame and François Lorenceau, Alfred Sisley: Catalogue critique des peintures et des pastels (Lausanne: La Bibliothèque des arts, 2021), nos. 79 and 138, pp. 65 and 83. Sisley’s dates of residence in Louveciennes have long been disputed. François Daulte claimed that Sisley took refuge there during the CommuneParis Commune: An insurrectionary socialist government in Paris that lasted from March 18 to May 27, 1871. in the spring of 1871; Stevens believed that he arrived in the fall or winter of 1871; and Richard Shone thought it likely that the artist settled there in late 1872.⁸See François Daulte, Alfred Sisley (1971; repr. Paris: Diffusion princesses, 1975), 22; Alfred Sisley: Poète de l’impressionnisme, 142n1; and Richard Shone, Sisley (New York: Harry N. Abrams, 1992), 51. The timing of Sisley’s move from Louveciennes to Marly-le-Roi has also been debated, with most historians favoring the winter of 1874 or early 1875.⁹For an example of the former, see Stevens, ed., Alfred Sisley: Impressionist Master, 183. These conflicting opinions reflect Sisley’s total absence from the Louveciennes municipal archives. He is missing from the town censuses of spring 1872 and spring 1876, and his children, being too young for formal education, are not listed in the school enrollment records.¹⁰Jacques and Monique Laÿ, Louveciennes, mon village (Paris: Imprimerie de l’Indre, 1989), 53–54. The census was held every five years for most of the nineteenth century, but the Franco-Prussian War caused the 1871 census to be delayed until 1872. Ronald Pickvance proposed the most plausible period of habitation: August 1872 to February 1875.¹¹Ronald Pickvance, “Sisley’s House at Louveciennes,” Burlington Magazine 156, no. 1333 (April 2014): 237–39. This timeframe is consistent with the census data and also accounts for the dating of the Nelson-Atkins painting, which is clearly inscribed “75” in the lower right-hand corner (Fig. 1). Nevertheless, confusion persists, as evidenced by a commemorative plaque in Louveciennes marking the site of Sisley’s erstwhile home (Fig. 2). It reads: “Alfred Sisley, Impressionist painter, lived here from 1870 to 1874.”

Fig. 2. Commemorative plaque marking the site of Sisley’s former home at 2 rue de la Princesse, Louveciennes. Photograph courtesy of Xavier Laÿ, April 17, 2022

Louveciennes appealed to Sisley due to its affordability and small-town charm. A village of fewer than two thousand residents,¹²For census data, see Claude Motte and Marie-Christine Vouloir, “ Louveciennes,” Des villages de Cassini aux communes d’aujourd’hui, Laboratoire de démographie historique, Centre national de la recherche scientifique, École des hautes études en sciences sociales, accessed May 5, 2022, http://cassini.ehess.fr/fr/html/fiche.php?select_resultat=20173 Louveciennes had 1,191 residents in 1872 and 2,160 residents in 1876. it had no post office of its own until 1872.¹³Laÿ and Laÿ, Louveciennes, mon village, 342. The street on which Sisley lived was a simple dirt path, as seen in the foreground of the Nelson-Atkins landscape; it was not until 1890 that Jules Beer, owner of the nearby Château de Voisins, paid for the road to be paved.¹⁴Laÿ and Laÿ, Louveciennes, mon village, 28. As Pickvance noted, the street was named for an earlier inhabitant of this château, Louise-Elisabeth de Bourbon, princesse de Conti (1696–1775), who lived there from 1729 to 1775.¹⁵Pickvance, “Sisley’s House at Louveciennes,” 238. She purchased the Château de Voisins after the death of its previous inhabitant, Louise-Philippe de Coëtlogon (1646–1729). See Laÿ and Laÿ, Louveciennes, mon village, 130. Sisley’s house was located on the western extremity of the rue de la Princesse, directly south of the Château du Barry (Figs. 3, 4). It is unclear when or for whom his dwelling was built. Pickvance, who visited Sisley’s abode before its demolition in 1978, heard rumors that Jeanne Bécu, Comtesse du Barry (1743–1793), had constructed the house for her servant, Louis Benoît Zamor (1762–1820), but Louveciennes historian Jacques Laÿ later refuted this possibility.¹⁶Pickvance, “Sisley’s House at Louveciennes,” 238. Laÿ’s comments on the house’s origins were conveyed by his son, Xavier Laÿ, in an email to Brigid M. Boyle, April 17, 2022, NAMA curatorial files. For Zamor’s life story, see Jacques and Monique Läy, Louveciennes: Histoire et rencontres (Paris: Éditions Riveneuve, 2016), 458–60. Sisley’s landlord is also something of a mystery. The building at 2 rue de la Princesse was put up for sale in July 1860,¹⁷See “Jolie maison de campagne,” Le Constitutionnel, July 6, 1860. The full advertisement reads: “Jolie maison de campagne à Louveciennes, route de la Princesse, 2, à vendre. S’adresser à M^e Bazin, notaire à Paris, r. Ménars, 8” (Pretty country house in Louveciennes, 2 rue de la Princesse, for sale. Address inquiries to Mr. Bazin, notary in Paris, 8 rue Ménars). A thorough search of the notary records for Eugène Louis Bazin from July to December 1860 yielded no information about the sale of this home. See Archives nationales, Pierrefitte-sur-Seine, Minutes et répertoires du notaire Eugène Louis Bazin, August 20, 1853–May 8, 1889, MC/ET/LXIX/1156–60. twelve years before the artist’s tenancy began, but its eventual buyer remains unknown.¹⁸Jacques and Monique Läy described Sisley’s house as “une dépendance de la propriété du littérateur Francis Wey” (an annex to the property of Francis Wey, man of letters) since Wey lived next door, at 1 rue de la Princesse. See Laÿ and Laÿ, Louveciennes, mon village, 54. Pickvance took this statement to mean that Wey probably leased the house to Sisley; see Pickvance, “Sisley’s House at Louveciennes,&rdquo 239. The situation is not so clear-cut, however. As Jacques Läy explained to the present author, “Aucun document en mairie ne précise le nom du propriétaire de la parcelle de terrain dans laquelle se trouvait la maison où demeurait Sisley” (No document in city hall identifies the owner of the plot of land where Sisley’s house was located). Xavier Läy (on behalf of Jacques Läy) to Brigid M. Boyle, NAMA, April 19, 2022, NAMA curatorial files. Whoever owned it, the house proved to be a recurring source of inspiration for Sisley, who portrayed it from multiple angles and in different seasons.

Fig. 3. Goethiers (publisher), *Louveciennes (S.-et-O.)—Château Dubarry, Les Pavillons*, ca. 1916, photomechanical print, 3 1/2 x 5 1/2 in. (8.9 x 14.0 cm), collection of the author

Rue de la Princesse, Evening is the last of the three paintings featuring Sisley’s home in Louveciennes. The first (ca. 1873; Phillips Family Collection) is a horizontal picture realized in late summer or early fall from the same vantage point as the Nelson-Atkins work.¹⁹See Brame and Lorenceau, Alfred Sisley: Catalogue critique des peintures et des pastels, no. 79, p. 65. The second, a vertical landscape dated 1874, faces the opposite direction and depicts a recent snowfall (Fig. 5). In the latter, fresh powder bleaches the road, clings to the roofs and Sisley’s corner awning, and weighs down the plants overhanging Sisley’s veranda. These telltale signs of winter give way to subtler indications of the time of year in the Nelson-Atkins work. A smattering of snow at the foot of Sisley’s house and denuded tree branches on the opposite side of the street signal that spring is still months away. Unlike his neighbor the painter Pierre-Auguste Renoir (1841–1919), who disliked the cold and generally eschewed snowscapes, Sisley appreciated the way snow and frost could transform a familiar setting.²⁰For Renoir’s aversion to snow, see Daulte, Alfred Sisley, 45. His ability to represent meteorological conditions of all kinds earned him many admirers. The New York Times critic John Russell remarked that “Sisley was as deft with deep snow as he was with high summer and sunshine.”²¹John Russell, “Art,” New York Times, May 20, 1983, C18. For an excellent discussion of Sisley’s approach to snow, see Joel Isaacson, “Sisley, Snow, Structure,” in Charles S. Moffett et al., Impressionists in Winter: Effets de Neige, exh. cat. (Washington, DC: Phillips Collection, 1998), 57–77.

Fig. 5. Alfred Sisley, *Sisley’s House, rue de la Princesse, Louveciennes*, 1874, oil on canvas, 25 5/8 x 21 1/4 in. (65 x 54 cm), private collection. Photo: © Sotheby’s 2022

Sisley was also skilled at capturing different lighting. In Rue de la Princesse, Evening, lighting plays a dramatic role in an otherwise undramatic painting. Two-thirds of the composition is in shadow, but part of the house’s façade and its second-floor cistern catch the sun’s rays, as does a sliver of wall across the street.²²Sisley’s inclusion of the cistern—an unusual architectural feature that also appears in the Phillips Family painting of his home—reflects the artist’s keen interest in the mechanisms of water drainage and transport. This interest manifests itself in riverfront scenes like The Lock of Saint-Mammès (2015.13.24), too. Sisley chose a soft cantaloupe color for the illuminated areas and teal hues for the shaded surfaces, juxtaposing warm and cool tones to great effect. He also placed wispy strokes of yellow-orange pigment along the tree limbs, indicating that they, too, are warmed by the sun. Although one scholar described this picture as an “early morning scene,”²³See Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 68. it in fact depicts the glow of evening. Sisley was facing southeast when he painted the Nelson-Atkins landscape, such that the setting sun was behind him and to his right. Moreover, when Sisley offered this work for sale at the Hôtel Drouot in Paris on March 24, 1875, mere weeks after completing it, he titled the painting Route de la Princesse (le soir) (evening).²⁴See Catalogue des tableaux et aquarelles par Claude Monet, Berthe Morisot, A. Renoir, A. Sisley (Paris: Hôtel Drouot, March 24, 1875), no. 63. Also included in this sale was another Nelson-Atkins work, Snow Effect at Argenteuil (44-41/3) by Claude Monet (1840–1926). It appeared as no. 2, Effet de neige. The Nelson-Atkins recently renamed the picture to honor this original title.²⁵Both the 1959 and 2021 catalogues raisonnés of Sisley’s oeuvre maintain le soir in the painting’s title. See François Daulte, Alfred Sisley: Catalogue raisonné de l’œuvre peint (Lausanne: Éditions Durand-Ruel, 1959), no. 168, unpaginated; and Brame and Lorenceau, Alfred Sisley: Catalogue critique des peintures et des pastels, no. 166, p. 94. Previously, the Nelson-Atkins used Rue de la Princesse, Winter as the painting’s title because Durand-Ruel identified the work as La Route de la Princesse en hiver, hameau de Voisins, Louveciennes (Route de la Princesse in Winter, Hamlet of Voisins, Louveciennes) in its stock books.

Fig. 6. View of the rue de la Princesse as it appears today. Photograph courtesy of Xavier Laÿ, April 17, 2022

Much has changed on the rue de la Princesse since Sisley’s period of residence. Peeking through the trees in the Kansas City work is a second house, which at other times of year was blocked from view by the surrounding foliage.²⁶For comparison, see Brame and Lorenceau, Alfred Sisley: Catalogue critique des peintures et des pastels, no. 79, p. 65. This building is still extant but greatly altered. Its sides are now beveled, with concomitant modifications to its gable and roofline. No longer a private residence, it serves today as the local Maison des Jeunes et de la Culture (Center for Youth and Culture, or MJC), an educational facility that offers everything from music lessons and painting classes to homework assistance.²⁷Laÿ to Boyle, April 19, 2022. In the photograph reproduced here, it appears on the right side of the paved road, looking down on the parked vehicles (Fig. 6). To the right of the MJC, above the pedestrian wearing salmon-colored trousers in figure 6, is a two-story building that did not exist in Sisley’s day. Another addition is the short section of plaster wall—strongly disliked by some locals²⁸Xavier Laÿ described it as “cet horrible mur avec crépis” (this hideous plaster wall). Laÿ to Boyle, April 19, 2022. —behind the streetlamp and speed limit sign. It replaced the wooden fence seen at far right in the Nelson-Atkins picture.²⁹Laÿ to Boyle, April 19, 2022. When Sisley lived in the village, this fence turned ninety degrees and continued on the rue de l’Etarché, as seen at left in Snow at Louveciennes (Fig. 7). Directly opposite this wooden enclosure was Sisley’s dwelling, roughly where the crosswalk terminates today.

Fig. 7. Alfred Sisley, *Snow at Louveciennes*, 1874, oil on canvas, 22 x 18 in. (55.9 x 45.7 cm), The Phillips Collection, Washington, DC, Acquired 1923.

After the house at 2 rue de la Princesse was razed, the Association Sportive de Louveciennes (Sporting Association of Louveciennes) reconceived the vacant property as an entrance to their members-only tennis club within the Parc des Granges du Barry (see Fig. 4).³⁰Vivienne Couldrey, Alfred Sisley: The English Impressionist (Newton Abbot, UK: David and Charles, 1992), 44. For more on this club, see its website at https://www.tennisdubarry.fr The abovementioned plaque honoring Sisley overlooks this new entrance. While it is regrettable that the artist’s house was not preserved for future generations, its memory lives on in Rue de la Princesse, Evening and other pictures from the 1870s, painted when Sisley was at the height of his creative powers.

Brigid M. Boyle

June 2022

Notes

The show closed on February 8, 1908. Previous retrospectives had taken place at Durand-Ruel Galleries, New York (February 27–March 15, 1899); Galerie Rosenberg, Paris (November 7–24, 1904); and Bernheim-Jeune et Cie, Paris (December 2–14, 1907).
Throughout this essay, different historical titles are used for the Nelson-Atkins painting. Originally titled Route de la Princesse (le soir) by Sisley, and often exhibited under this title (or variations thereof) in the early twentieth century, the picture is now generally known as Rue de la Princesse, Evening, as discussed below.
See Louis Vauxcelles, “La Vie artistique: Retrospective Sisley,” Gil Blas, February 2, 1908; and Georges Meusnier, “Causerie de la semaine: Galeries parisiennes,” Journal des artistes, February 9, 1908.
René X[avier] Prinet, “Exposition Durand-Ruel: Sisley,” La Grande revue 47 (February 25, 1908): 814–15. “La vue d’un tableau de Sisley est une jouissance purement physique, c’est un régal, une gourmandise satisfaite. . . . Dès 1874, son exécution s’élargit, devient plus franche, plus hardie, en même temps qu’il découvre des effets plus rares et des valeurs plus délicates; ce progrès est déjà sensible dans la Seine, 1874, dans la Route de la Princesse, 1875, et surtout dans la Route de Marly à Port Marly, 1876.” All translations are by Brigid M. Boyle.
Richard Shone, for example, commented: “In the years from around 1872 to 1876, Sisley rarely puts a foot wrong.” See Richard Shone, “Between the Sky and the Water: Reflections on Alfred Sisley,” in MaryAnne Stevens, ed., Alfred Sisley: Impressionist Master, exh. cat. (Greenwich, CT: Bruce Museum, 2017), 26.
See MaryAnne Stevens, “Les vingt dernières années: Déclin artistique ou maturation de l’impressionnisme?” in Alfred Sisley: Poète de l’impressionnisme, exh. cat. (Paris: Réunion des musées nationaux, 2002), 80–95.
For the other paintings, see Sylvie Brame and François Lorenceau, Alfred Sisley: Catalogue critique des peintures et des pastels (Lausanne: La Bibliothèque des arts, 2021), nos. 79 and 138, pp. 65 and 83.
See François Daulte, Alfred Sisley (1971; repr. Paris: Diffusion princesses, 1975), 22; Alfred Sisley: Poète de l’impressionnisme, 142n1; and Richard Shone, Sisley (New York: Harry N. Abrams, 1992), 51.
For an example of the former, see Stevens, ed., Alfred Sisley: Impressionist Master, 183.
Jacques and Monique Laÿ, Louveciennes, mon village (Paris: Imprimerie de l’Indre, 1989), 53–54. The census was held every five years for most of the nineteenth century, but the Franco-Prussian War caused the 1871 census to be delayed until 1872.
Ronald Pickvance, “Sisley’s House at Louveciennes,” Burlington Magazine 156, no. 1333 (April 2014): 237–39.
For census data, see Claude Motte and Marie-Christine Vouloir, “Louveciennes,” Des villages de Cassini aux communes d’aujourd’hui, Laboratoire de démographie historique, Centre national de la recherche scientifique, École des hautes études en sciences sociales, accessed May 5, 2022, http://cassini.ehess.fr/fr/html/fiche.php?select_resultat=20173. Louveciennes had 1,191 residents in 1872 and 2,160 residents in 1876.
Laÿ and Laÿ, Louveciennes, mon village, 342.
Laÿ and Laÿ, Louveciennes, mon village, 28.
Pickvance, “Sisley’s House at Louveciennes,” 238. She purchased the Château de Voisins after the death of its previous inhabitant, Louise-Philippe de Coëtlogon (1646–1729). See Laÿ and Laÿ, Louveciennes, mon village, 130.
Pickvance, “Sisley’s House at Louveciennes,” 238. Laÿ’s comments on the house’s origins were conveyed by his son, Xavier Laÿ, in an email to Brigid M. Boyle, April 17, 2022, NAMA curatorial files. For Zamor’s life story, see Jacques and Monique Läy, Louveciennes: Histoire et rencontres (Paris: Éditions Riveneuve, 2016), 458–60.
See “Jolie maison de campagne,” Le Constitutionnel, July 6, 1860. The full advertisement reads: “Jolie maison de campagne à Louveciennes, route de la Princesse, 2, à vendre. S’adresser à M^e Bazin, notaire à Paris, r. Ménars, 8” (Pretty country house in Louveciennes, 2 rue de la Princesse, for sale. Address inquiries to Mr. Bazin, notary in Paris, 8 rue Ménars). A thorough search of the notary records for Eugène Louis Bazin from July to December 1860 yielded no information about the sale of this home. See Archives nationales, Pierrefitte-sur-Seine, Minutes et répertoires du notaire Eugène Louis Bazin, August 20, 1853–May 8, 1889, MC/ET/LXIX/1156–60.
Jacques and Monique Läy described Sisley’s house as “une dépendance de la propriété du littérateur Francis Wey” (an annex to the property of Francis Wey, man of letters) since Wey lived next door, at 1 rue de la Princesse. See Laÿ and Laÿ, Louveciennes, mon village, 54. Pickvance took this statement to mean that Wey probably leased the house to Sisley; see Pickvance, “Sisley’s House at Louveciennes,” 239. The situation is not so clear-cut, however. As Jacques Läy explained to the present author, “Aucun document en mairie ne précise le nom du propriétaire de la parcelle de terrain dans laquelle se trouvait la maison où demeurait Sisley” (No document in city hall identifies the owner of the plot of land where Sisley’s house was located). Xavier Läy (on behalf of Jacques Läy) to Brigid M. Boyle, NAMA, April 19, 2022, NAMA curatorial files.
See Brame and Lorenceau, Alfred Sisley: Catalogue critique des peintures et des pastels, no. 79, p. 65.
For Renoir’s aversion to snow, see Daulte, Alfred Sisley, 45.
John Russell, “Art,” New York Times, May 20, 1983, C18. For an excellent discussion of Sisley’s approach to snow, see Joel Isaacson, “Sisley, Snow, Structure,” in Charles S. Moffett et al., Impressionists in Winter: Effets de Neige, exh. cat. (Washington, DC: Phillips Collection, 1998), 57–77.
Sisley’s inclusion of the cistern—an unusual architectural feature that also appears in the Phillips Family painting of his home—reflects the artist’s keen interest in the mechanisms of water drainage and transport. This interest manifests itself in riverfront scenes like The Lock of Saint-Mammès (2015.13.24), too.
See Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 68.
See Catalogue des tableaux et aquarelles par Claude Monet, Berthe Morisot, A. Renoir, A. Sisley (Paris: Hôtel Drouot, March 24, 1875), no. 63. Also included in this sale was another Nelson-Atkins work, Snow Effect at Argenteuil (44-41/3) by Claude Monet (1840–1926). It appeared as no. 2, Effet de neige.
Both the 1959 and 2021 catalogues raisonnés of Sisley’s oeuvre maintain le soir in the painting’s title. See François Daulte, Alfred Sisley: Catalogue raisonné de l’œuvre peint (Lausanne: Éditions Durand-Ruel, 1959), no. 168, unpaginated; and Brame and Lorenceau, Alfred Sisley: Catalogue critique des peintures et des pastels, no. 166, p. 94. Previously, the Nelson-Atkins used Rue de la Princesse, Winter as the painting’s title because Durand-Ruel identified the work as La Route de la Princesse en hiver, hameau de Voisins, Louveciennes (Route de la Princesse in Winter, Hamlet of Voisins, Louveciennes) in its stock books.
For comparison, see Brame and Lorenceau, Alfred Sisley: Catalogue critique des peintures et des pastels, no. 79, p. 65.
Laÿ to Boyle, April 19, 2022.
Xavier Laÿ described it as “cet horrible mur avec crépis” (this hideous plaster wall). Laÿ to Boyle, April 19, 2022.
Laÿ to Boyle, April 19, 2022.
Vivienne Couldrey, Alfred Sisley: The English Impressionist (Newton Abbot, UK: David and Charles, 1992), 44. For more on this club, see its website at https://www.tennisdubarry.fr.

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Technical Entry

Technical entry forthcoming.

Documentation

Citation

Chicago:

Brigid M. Boyle, “Alfred Sisley, Rue de la Princesse, Evening, 1875,” documentation in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2023), https://doi.org/10.37764/78973.5.658.4033.

MLA:

Boyle, Brigid M. “Alfred Sisley, Rue de la Princesse, Evening, 1875,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2023. doi: 10.37764/78973.5.658.4033.

Provenance

provenace

Citation

Chicago:

MLA:

Purchased from the artist at his sale, Tableaux et aquarelles par Claude Monet, Berthe Morisot, A. Renoir, A. Sisley, Hôtel Drouot, Paris, March 24, 1875, no. 63, as Route de la Princesse (le soir), by Galeries Durand-Ruel, Paris, 1875 [1];

John Burke, London, by April 4, 1899;

Purchased from Burke by Galeries Durand-Ruel, Paris, stock no. L 5125, as La Route de la Princesse en hiver, hameau de Voisins, Louveciennes, April 4, 1899–no later than 1901 [2];

Purchased from Galeries Durand-Ruel by Joseph Durand-Ruel (1862–1928), Paris, by 1901–December 30, 1928;

Estate of Durand-Ruel, 1928–1949 [3];

To Durand-Ruel’s daughter and son-in-law, Marie-Louise (née Durand-Ruel, 1897–1991) and Jean (1895–1985) d’Alayer de Costemore d’Arc, Neuilly-sur-Seine, 1949–September 16, 1964 [4];

Purchased from Mr. and Mrs. d’Alayer de Costemore d’Arc by Sam Salz Inc., New York, 1964–no later than January 12, 1966 [5];

Purchased from Salz by Mr. Clifford William (1911–1976) and Mrs. Barbara Lloyd (née Richards, 1918–1978) Michel, New York, by 1966–November 29, 1978 [6];

Estate of Barbara Lloyd Michel, 1978–February 2, 1979 [7];

Purchased from the Michel estate by William Beadleston, Inc., New York, as Une Rue à Louveciennes—Le Soir, February 2–April 16, 1979 [8];

Purchased from Beadleston by Marion (née Helzberg, 1931–2013) and Henry (1922–2019) Bloch, Shawnee Mission, KS, 1979–June 15, 2015;

Their gift to the Nelson-Atkins Museum of Art, Kansas City, MO, 2015.

NOTES:

[1] Ronald Pickvance was the first scholar to identify no. 63 as the Nelson-Atkins painting. See Ronald Pickvance, “Sisley’s House at Louveciennes,” Burlington Magazine 156, no. 1333 (April 2014): 237–38, 238n6. The procès-verbaux from the Hôtel Drouot sale indicate that the work was purchased by Durand-Ruel for 130 francs; see Merete Bodelsen, “Early Impressionist Sales 1874–94 in the light of some unpublished ‘procès-verbaux’,” Burlington Magazine 110, no. 783 (June 1968): 335. Durand-Ruel confirmed this purchase, as per their annotated sales catalogue, but cannot find the Nelson-Atkins painting in their stock books until 1899, when they reacquired the picture from John Burke. See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie., Paris, to Meghan Gray, NAMA, February 16, 2016, and email from Flavie Durand-Ruel to Brigid M. Boyle, NAMA, April 6, 2022, NAMA curatorial files.

[2] For the purchase date, see emails from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie., Paris, to Nicole Myers, NAMA, January 11, 2016, and to Meghan Gray, NAMA, February 16, 2016, NAMA curatorial files. The precise date of sale to Joseph Durand-Ruel is unknown, but the painting was in his possession by 1901. See email from Flavie Durand-Ruel to Brigid M. Boyle, NAMA, April 19, 2022, NAMA curatorial files.

[3] After Joseph Durand-Ruel’s death on December 30, 1928, his art collection was retained by his estate and gradually distributed to heirs over the course of two decades. See emails from Flavie Durand-Ruel, Durand-Ruel et Cie., Paris, to Brigid M. Boyle, NAMA, April 20, 2022, NAMA curatorial files.

[4] For the sale date of September 16, 1964, see email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie., Paris, to Nicole Myers, NAMA, January 11, 2016, NAMA curatorial files.

[5] Sam Salz (1894–1981) sold Rue de la Princesse, Evening to Clifford and Barbara Michel sometime prior to January 12, 1966, when the couple loaned the painting to Knoedler Gallery’s exhibition Impressionist Treasures from Private Collections in New York (January 12–29, 1966). Per Betsy Michel (née Shirley, b. 1942), daughter-in-law of Clifford and Barbara Michel, her in-laws purchased their entire art collection from Salz. Verbal communication from Betsy Michel to Brigid M. Boyle, NAMA, March 11, 2022; see notes in NAMA curatorial files.

[6] After Clifford Michel passed away on March 8, 1976, the painting remained in his wife’s possession until her own death on November 29, 1978.

[7] See memorandum by Clifford Lloyd “Mickey” Michel (1939–2004) entitled “Estate of Barbara R. Michel: Paintings and Sculpture to be Sold,” January 15, 1979, NAMA curatorial files. The memo bears a handwritten note dated February 2, 1979, which states: “Agreement reached to sell the 14 items (12 paintings and drawings and 2 sculptures) as a single lot.” See also emails from Dr. Martin Morad, University of South Carolina, to Brigid M. Boyle, NAMA, March 14, 28, and 29, 2022, NAMA curatorial files, confirming William Beadleston’s purchase of Rue de la Princesse, Evening from the Michel estate.

[8] For the sale date of April 16, 1979, see invoice no. G-279 from William Beadleston, Inc., NAMA curatorial files.

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Related Works

Citation

Chicago:

MLA:

Alfred Sisley, Sisley’s House, rue de la Princesse, Louveciennes, ca. 1873, oil on canvas, 15 x 21 1/4 in. (38 x 54 cm), The Phillips Family Collection, United States.

Alfred Sisley, Rue de la Princesse, Louveciennes, 1873, oil on canvas, 22 x 18 1/2 in. (55.9 x 47 cm), Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., bequest of Mrs. Eugene McDermott.

Alfred Sisley, Sisley’s House, rue de la Princesse, Louveciennes, 1874, oil on canvas, 25 5/8 x 21 1/4 in. (65 x 54 cm), private collection; cited in Sylvie Brame and François Lorenceau, Alfred Sisley: Catalogue critique des peintures et des pastels (Lausanne: La Bibliothèque des arts, 2021), no. 138, p. 83.

Exhibitions

exhibitions

Citation

Chicago:

MLA:

Boyle, Brigid M.. “Alfred Sisley, Rue de la Princesse, Evening, 1875,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2023. doi: 10.37764/78973.5.658.4033.

Exposition de tableaux de feu Sisley, Galeries Durand-Ruel, Paris, January 3–February 8, 1908, as La Route de la Princesse.

Cent Ans de Peinture Française: Exposition au Profit du Musée des Beaux-Arts de Strasbourg, 18, Rue de la Ville-l’Évêque, Paris, March 15–April 20, 1922, no. 155, as La route de la Princesse en hiver.

Paysages par Claude Monet, Camille Pissarro, Renoir et Sisley, Galerie Durand-Ruel, Paris, January 14–31, 1933, no. 40.

Quelques Œuvres Importantes de Corot à Van Gogh: Organisée au Profit de l’Œuvre l’Enfance Malheureuse, Galeries Durand-Ruel, Paris, May 11–June 16, 1934, no. 60, as Neige, route de Louveciennes.

Exposition de tableaux par Alfred Sisley, 1840–1899, Galeries Durand-Ruel, Paris, January 23–February 13, 1937, no. 13, as La route de la Princesse, en hiver.

Chefs-d’œuvre de l’art français, Palais de Tokio, Paris, June 25–October 1937, no. 417, as Route de la Princesse, à Louveciennes, le soir.

Landscape in French Art, 1550–1900, Royal Academy of Arts, London, December 10, 1949–March 5, 1950, no. 256, as The Route de la Princesse in Winter.

Impressionist Treasures from Private Collections in New York: For The Benefit of St. Luke’s Hospital Center Building Fund, Knoedler Gallery, New York, January 12–29, 1966, no. 35, as The Route de la Princesse at Louveciennes.

New York Collects, The Metropolitan Museum of Art, New York, July 3–September 2, 1968, no. 210, as La Route de la Princesse à Louveciennes.

“One Hundred Years of Impressionism”: A Tribute to Durand-Ruel; A Loan Exhibition For the Benefit of the New York University Art Collection, Wildenstein, New York, April 2–May 9, 1970, no. 26, as Une Rue à Louveciennes.

The Bloch Collection, The Nelson-Atkins Museum of Art, Kansas City, MO, June–August 1982, no cat.

Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, The Nelson-Atkins Museum of Art, Kansas City, MO, June 9–September 9, 2007, no. 10, as Rue de la Princesse, Winter (La rue de la princesse, l’hiver).

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References

references

Citation

Chicago:

MLA:

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Chefs-d’œuvre de l’art français, exh. cat. (Paris: Palais National des Arts, 1937), 1:201, as Route de la Princesse, à Louveciennes, le soir.

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Lionello Venturi, De Manet à Lautrec: Manet, Degas, Monet, Pissarro, Sisley, Renoir, Cézanne, Seurat, Gauguin, Van Gogh, Toulouse-Lautrec, trans. Juliette Bertrand (Paris: Éditions Albin Michel, 1953), 116, 308, (repro.), as Le Route de la Princesse à Louveciennes, le soir.

François Daulte, Alfred Sisley: Catalogue raisonné de l’œuvre peint (Lausanne: Éditions Durand-Ruel, 1959), no. 168, pp. 345, 349, (repro.), as Une Rue à Louveciennes – Le Soir.

François Daulte, Sisley: Paysages (Lausanne: International Art Book, 1961), 28.

Horst Büttner, Farbige Gemäldewiedergaben Alfred Sisley (Leipzig: E.A. Seemann, 1964), 12.

Impressionist Treasures from Private Collections in New York: For The Benefit of St. Luke’s Hospital Center Building Fund, exh. cat. (New York: M. Knoedler, 1966), 43, (repro.), as The Route de la Princesse at Louveciennes.

Merete Bodelsen, “Early Impressionist Sales 1874–94 in the light of some unpublished ‘procès-verbaux’,” Burlington Magazine 110, no. 783 (June 1968): 333, 335, as route de la princesse [le soir].

New York Collects, exh. cat. (New York: Metropolitan Museum of Art, 1968), 42, as La Route de la Princesse à Louveciennes.

Hilton Kramer, “In the Genteel Tradition,” New York Times 117, no. 40,349 (July 14, 1968): D25.

“One Hundred Years of Impressionism”: A Tribute to Durand-Ruel; A Loan Exhibition For the Benefit of the New York University Art Collection, exh. cat. (New York: Wildenstein, 1970), unpaginated, (repro.), as Une Rue à Louveciennes.

François Daulte, Alfred Sisley (1971; repr., Paris: Diffusion Princesse, 1974), 38.

Ronald Pickvance, Alfred Sisley (1839–1899): Impressionist Landscapes, exh. cat. (Nottingham: Nottingham University Art Gallery, 1971), 20.

Raymond Cogniat, Sisley, trans. Alice Sachs (New York: Crown, 1978), 92.

Sophie Monneret, L’Impressionnisme et son époque (Paris: Éditions Denoël, 1979), 2:264, as Route de la princesse le soir.

“The Bloch Collection,” Gallery Events (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) (June–August 1982): unpaginated.

Jacques Lassaigne and Sylvie Gache-Patin, Sisley (Paris: Nouvelles éditions françaises, 1983), 12, 46.

Andrea P. A. Belloli, ed., A Day in the Country: Impressionism and the French Landscape, exh cat. (1984; New York: Harry N. Abrams, 1990), 102, as A Street in Louveciennes at Evening Time.

Marie-Amynthe Denis, Jacques Laÿ, and Monique Laÿ, De Renoir à Vuillard: Marly-le-Roi, Louveciennes, leurs environs . . ., exh. cat. (Louveciennes: Musée-Promenade de Marly-le-Roi-Louveciennes, 1984), 97, as Une rue à Louveciennes, le soir.

Donald Hoffmann, “Eileen Jagoda’s lyrical collages suffer from formless tenor,” Kansas City Star 105, no. 140 (March 3, 1985): 6F.

Christopher Lloyd, Retrospective Alfred Sisley, trans. Nobuyuki Senzoku, exh. cat. (Tokyo: Art Life, 1985), 148, 163, as Une rue à Louveciennes—le soir.

Anna Maria Mascheroni, ed., Sisley, trans. Kerry Milis (1988; repr., London: Park Lane, 1991), 5.

Jacques and Monique Laÿ, Louveciennes, mon village (Paris: Imprimerie de l’Indre, 1989), 55–56, (repro.), as Route de la Princesse, à Louveciennes, le soir.

Vivienne Couldrey, Alfred Sisley: The English Impressionist (Newton Abbot, England: David and Charles, 1992), 51–52.

François Daulte, Sisley: Les saisons (Paris: Bibliothèque des Arts, 1992), 37.

Richard Shone, Sisley (New York: Harry N. Abrams, 1992), 109, 227.

MaryAnne Stevens, ed., Alfred Sisley, exh. cat. (London: Royal Academy of Arts, 1992), 37, 118, 264, as Street in Louveciennes: Evening.

Nobuyuki Senzoku and Marc Restellini, シスレー展 = Exposition Alfred Sisley, trans. Takao Nakamura and Koichi Suzuki, exh. cat. (Japan: Art Life, 2000), 30.

Alfred Sisley: poète de l’impressionnisme, exh. cat. (Paris: Réunion des musées nationaux, 2002), 186n3, 274, 387, 388n3, as Une rue à Louveciennes—le Soir (ou Rue de la Princesse à Louveciennes).

Rebecca Dimling Cochran and Bobbie Leigh, “100 Top Collectors who have made a difference,” Art and Antiques 28, no. 3 (March 2006): 90.

Bobbie Leigh, “Magnificent Obsession,” Art and Antiques 29, no. 6 (June 2006): 62.

Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 8, 14, 66–69, 157, (repro.), as Rue de la Princesse, Winter (La rue de la princesse, l’hiver).

Alice Thorson, “A Tiny Renoir Began Impressive Obsession,” Kansas City Star 127, no. 269 (June 3, 2007): E4–E5, as Rue de la Princesse, Winter.

“Lasting Impressions: A Tribute to Marion and Henry Bloch,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 11–12.

Steve Paul, “Pretty Pictures: Marion and Henry Bloch’s collection of superb Impressionist masters,” Panache 4, no. 3 (Fall 2007): 20.

“A 75th Anniversary Celebrated with Gifts of 400 Works of Art,” Art Tattler International (February 2010): http://arttattl.ipower.com/archivemagnificentgifts.html.

Alice Thorson, “Blochs add to Nelson treasures,” Kansas City Star 130, no. 141 (February 5, 2010): A1, A8, as Rue de la Princesse, Winter.

Carol Vogel, “O! Say, You Can Bid on a Johns,” New York Times 159, no. 54,942 (February 5, 2010): C26.

Alice Thorson, “Gift will leave lasting impression,” Kansas City Star 130, no. 143 (February 7, 2010): G1–G2.

Thomas M. Bloch, Many Happy Returns: The Story of Henry Bloch, America’s Tax Man (Hoboken: John Wiley and Sons, 2011), 174–75.

Gerhard Finckh, ed., Alfred Sisley, exh. cat. (Wuppertal, Germany: Von der Heydt-Museum, 2011), 51, 235.

Monique and Georges Lucenet, Impressionnisme en Seine (Saint-Herblain, France: Les Itinéraires, 2012), 62.

Ronald Pickvance, “Sisley’s House at Louveciennes,” Burlington Magazine 156, no. 1333 (April 2014): 237–38, 238n6, (repro.), as Rue de la Princesse, Louveciennes.

Paul-Louis Durand-Ruel and Flavie Durand-Ruel, eds., Paul Durand-Ruel: Memoirs of the First Impressionist Art Dealer (1831–1922), trans. Deke Dusinberre (Paris: Flammarion, 2014), 118–19, 266n134.

Diane Stafford, “Bloch gift to go for Nelson upgrade,” Kansas City Star 135, no. 203 (April 8, 2015): A1, A8.

“Nelson-Atkins Museum of Art officially accessions Bloch Impressionist masterpieces,” Artdaily.org (July 25, 2015): http://artdaily.com/news/80246/Nelson-Atkins-Museum-of-Art-officially-accessions-Bloch-Impressionist-masterpieces.

Julie Paulais, “Le Nelson-Atkins Museum of Art reçoit des tableaux impressionnistes en échange de leurs répliques,” Le Journal des arts (July 30, 2015): https://www.lejournaldesarts.fr/patrimoine/le-nelson-atkins-museum-art-recoit-des-tableaux-impressionnistes-en-echange-de-leurs.

Josh Niland, “The Nelson-Atkins Museum of Art Acquires a Renowned Collection of Impressionist and Postimpressionist Art,” architecturaldigest.com (July 31, 2015): https://www.architecturaldigest.com/story/nelson-atkins-museum-accessions-bloch-art-collection.

Nancy Staab, “Van Gogh is a Go!” 435: Kansas City’s Magazine (September 2015): 76.

“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” Artdaily.org (July 20, 2016): http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017.

Diane Stafford, “What you may not know about Henry Bloch,” Spirit (September 23, 2016): http://www.kansascity.com/living/spirit/ article102669387.html [repr., Diane Stafford, “What’s less known about Henry Bloch,” Kansas City Star 137, no. 8 (September 25, 2016): 1E, 6E.]

“Nelson-Atkins Museum of Art celebrates generosity of Henry Bloch with new acquisition,” Artdaily.org (October 18, 2016): https://artdaily.cc/news/90923/Nelson-Atkins-Museum-of-Art-celebrates-generosity-of-Henry-Bloch-with-new-acquisition#.XnKATqhKiUk.

Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 76, (repro.), as Rue de la Princesse, Winter.

Kelly Crow, “Museum Rewards Donor with Fake Art to Hang at Home,” Wall Street Journal (January 25, 2017): https://www.wsj.com/articles/museum-rewards-donor-with-fake-art-to-hang-at-home-1485370768.

David Frese, “Bloch savors paintings in redone galleries,” Kansas City Star (February 25, 2017): 1A, 14A.

Albert Hecht, “Henry Bloch’s Masterpieces Collection to Go On Display at Nelson-Atkins Museum,” Jewish Business News (February 26, 2017): http://jewishbusinessnews.com/2017/02/26/henry-bloch-masterpieces-collection/.

David Frese, “A collection of stories,” and “Inside the Bloch Galleries: An interactive experience,” Kansas City Star 137, no. 169 (March 5, 2017): 1D, 4D–5D, (repro.), as Rue de la Princesse, Winter.

“Editorial: Thank you, Henry and Marion Bloch,” Kansas City Star (March 7, 2017), http://www.kansascity.com/opinion/editorials/ article137040948.html [repr., in “Thank you, Henry and Marion Bloch,” Kansas City Star 137, no. 172 (March 8, 2017): 16A].

Hampton Stevens, “(Not Actually) 12 Things To Do During The Big 12 Tournament,” Flatland: KCPT’s Digital Magazine (March 9, 2017): http://www.flatlandkc.org/arts-culture/sports/not-actually-12-big-12-tournament/.

Laura Spencer, “The Nelson-Atkins’ Bloch Galleries Feature Old Masterworks and New Technology,” KCUR (March 10, 2017): http://kcur.org/post/nelson-atkins-bloch-galleries-feature-old-masterworks-and-new-technology#stream/0.

Victoria Stapley-Brown, “Nelson-Atkins Museum’s new European art galleries come with a ‘love story,’” Art Newspaper (March 10, 2017): http://theartnewspaper.com/news/museums/nelson-atkins-museum-s-new-european-art-galleries-come-with-a-love-story/.

Harry Bellet, “Don du ciel pour le Musée Nelson-Atkins,” Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don-du-ciel-pour-le-musee-nelson-atkins_5093543_1655012.html.

Menachem Wecker, “Jewish Philanthropist Establishes Kansas City as Cultural Mecca,” Forward (March 14, 2017): http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/ [repr., in Menachem Wecker, “Kansas City Collection Is A Chip Off the Old Bloch,” Forward (March 17, 2017): 20–22], as Rue de la Princesse, Winter.

Juliet Helmke, “The Bloch Collection Takes up Residence in Kansas City’s Nelson Atkins Museum,” Blouin ArtInfo International (March 15, 2017): http://www.blouinartinfo.com/news/story/2005267/the-bloch-collection-takes-up-residence-in-kansas-citys?utm_source=Blouin+Artinfo+Newsletters&utm_campaign =a2555adf27-Daily+Digest+03.16.2017+-+8+AM&utm_medium=email&utm_term=0_df23dbd3c6-a2555adf27-83695841.

Louise Nicholson, “How Kansas City got its magnificent museum,” Apollo: The International Art Magazine (April 7, 2017): https://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum.

Lilly Wei, “Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning,’” Studio International (August 21, 2017): http://studiointernational.com/index.php/julian-zugazagoitia-director-nelson-atkins-museum-of-art-kansas-city-interview.

MaryAnne Stevens, Alfred Sisley: Impressionist Master, exh. cat. (New Haven: Yale University Press, 2017), 183.

Robert D. Hershey Jr., “Henry Bloch, H&R Block’s cofounder, dies at 96,” Boston Globe (April 23, 2019): https://www3.bostonglobe.com/metro/obituaries/2019/ 04/23/henry-bloch-block-cofounder/?arc404=true.

Robert D. Hershey Jr., “Henry W. Bloch, Tax-Preparation Pioneer (and Pitchman), Is Dead at 96,” New York Times (April 23, 2019): https://www.nytimes.com/2019/04/23/obituaries/henry-w-bloch-dead.html.

Megan McDonough, “Henry Bloch, whose H&R Block became world’s largest tax-services provider, dies at 96,” Washington Post (April 23, 2019): https://www.washingtonpost.com/local/obituaries/henry-bloch-whose-handr-block-became-worlds-largest-tax-services-provider-dies-at-96/2019/04/23/19e95a90-65f8-11e9-a1b6-b29b90efa879_story.html.

Claire Selvin, “Henry Wollman Bloch, Collector and Prominent Benefactor of Nelson-Atkins Museum of Art, Is Dead at 96,” ArtNews (April 23, 2019): http://www.artnews.com/2019/04/23/henry-bloch-dead-96/.

Eric Adler and Joyce Smith, “Henry Bloch, co-founder of H&R Block, dies at 96,” Kansas City Star 139, no. 219 (April 24, 2019): 1A.

“Henry Wollman Bloch (1922–2019),” Artforum (April 24, 2019): https://www.artforum.com/news/henry-wollman-bloch-1922-2019-79547.

Frank Morris, “Henry Bloch, Co-Founder Of H&R Block, Dies At 96,” NPR (April 24, 2019): https://www.npr.org/2019/04/24/716641448/henry-bloch-co-founder-of-h-r-block-dies-at-96.

Ignacio Villarreal, “Nelson-Atkins mourns loss of Henry Bloch,” ArtDaily.org (April 24, 2019): http://artdaily.com/news/113035/Nelson-Atkins-mourns-loss-of-Henry-Bloch#.XMB76qR7laQ.

Eric Adler and Joyce Smith, “H&R Bloch co-founder, philanthropist Bloch dies,” Cass County Democrat Missourian 140, no. 29 (April 26, 2019): 1A.

Eric Adler and Joyce Smith, “KC businessman and philanthropist Henry Bloch dies,” Lee’s Summit Journal 132, no. 79 (April 26, 2019): 1A.

Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 225 (April 30, 2019): 4A [repr., in Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 228 (May 3, 2019): 3A].

Eric Adler, “Sold for $3.25 million, Bloch’s home in Mission Hills may be torn down,” Kansas City Star 141, no. 90 (December 16, 2020): 2A.

Joséphine Le Foll, L’Impressionnisme (Paris: Éditions Citadelles et Mazenod, 2020), 68–69, (repro.), as Route de la princesse, l’hiver.

Kristie C. Wolferman, The Nelson-Atkins Museum of Art: A History (Columbia, MO: University of Missouri Press, 2020), 344–45.

Sylvie Brame and François Lorenceau, Alfred Sisley: Catalogue critique des peintures et des pastels (Lausanne: La Bibliothèque des arts, 2021), no. 166, pp. 22, 24, 94, 428, 515–17, 519–20, 522, 549, (repro.), as La maison de Sisley, rue de la Princesse, Louveciennes, le soir.

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