Alfred Siseley Byd o Liw


Alfred Siseley

Osi Rhys Osmond sy'n ymweld a Phenarth lle y'i paentiodd yr Argraffiadwr Eingl-Ffrengig, Alfred Sisley, olygfa o'r clogwyni. Visiting Penarth which inspired artist Alfred Sisley.


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-The River Severn can change

-its colour in a magical way.

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-At the end of the 19th century...

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-..Alfred Sisley

-travelled from Paris...

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-..to Wales

-to search for inspiration.

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-Sisley, like Monet and Pissarro,

-was a famous Impressionist.

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-He visited this spot.

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-He painted this scene, in Penarth,

-near Cardiff, in 1897.

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-Sisley's painting

-was painted late in the day.

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-The sun is setting, people

-are walking along the path...

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-..and the beach.

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-The tide is going out

-and the cliffs are exposed.

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-Sisley's painting is similar

-to others in the National Museum.

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-It shows the way the Impressionists

-used extreme colours...

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-..like this one, of Rouen Harbour,

-by Pissarro.

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-The chocolate box colours weren't

-created by the artist's imagination.

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-They were created

-by industrial pollution...

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-..which is apparent

-throughout the painting.

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-The smoke and the steam that rises

-from the chimneys and ships...

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-..create strange colours as they

-mix with the sky and the light.

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-The Impressionists

-took advantage of these effects.

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-Artist Therese Urbanska

-is collecting driftwood.

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-Modern pollution inspires

-contemporary artists...

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-..in a different way.

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-Therese's work includes figurative,

-landscapes and abstract images.

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-I was mesmerised by the shape

-and colours of the pieces she chose.

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-What attracted you

-to the objects you've collected?

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-It's all about colour

-at the moment...

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-..and different textures.

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-Especially this.

-I do like this shape.

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-I also like the blue in the middle.

-I want to use that.

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-I like the way the blue

-and the rust colour combine so well.

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-I want to include this colour

-in the work.

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-It could be anything.

-I've found a dead battery here.

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-Look at its colour.

-That combines well with this.

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-It helps me when I'm

-choosing objects on the beach...

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-..instead of looking

-at the whole landscape.

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-I can focus on specific objects.

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-Are you looking for objects

-with a history behind them?

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-I like objects that have been

-discarded - bottle pieces.

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-I can see the beauty in them.

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-Further down the beach, Mary Lloyd

-Jones, like Sisley before her...

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-..has been attracted

-by the colourful cliffs.

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-The striking feature about her

-paintings are the vibrant colours.

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-A recent visit to India provided

-further inspiration for her.

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-Contrary to Sisley's viewpoint,

-Mary's decided to face the cliffs...

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-..instead of the sea.

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-These cliffs were created when

-creatures first roamed the land.

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-This is an excellent subject

-for an artist. Observe the colours.

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-Sisley sat up there when he painted

-his painting of Penarth.

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-Why have you come down here?

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-Why have you come down here?

-

-I like the layers in the cliff.

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-Every stripe represents

-thousands and thousands of years.

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-There's an abundance of fossils

-on the beach and the cliffs.

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-The colours in your drawing

-are stronger...

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-..than the colours in the cliff.

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-These are just notes to remind me.

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-I'll be working in a more...

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-Will you be using your imagination?

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-Well, no. I want the colours

-to combine well.

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-I'll use my memory

-and the notes I've made.

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-I feel it's important

-to make notes...

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-..with something

-as old-fashioned as a pencil.

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-You make marks with a pencil,

-you make marks with paint.

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-Markings are the language I use.

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-Art can be deceptive.

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-This looks like a simple seascape.

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-But it's not.

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-Look at the painting's composition.

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-He's broken the painting up

-in a very interesting way.

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-There are different areas and

-different themes in the painting.

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-Look at his use of colour - the

-way he's used small spots of red.

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-They enhance the green colour...

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-..and help make the image

-more powerful.

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-The same is true of the figures.

-There's just enough information.

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-The sun reflects on the sea.

-Lavernock Point is in the distance.

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-When you look closely at the

-painting, the image is very strong.

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-When you stand back,

-everything slots into place.

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-It's an incredible painting.

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-It conveys the tranquillity

-of the day coming to an end.

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-Everything is calm. The way Sisley

-used colours in this painting...

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-..highlights the main aim

-of the Impressionists.

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-Therese uses a combination

-of black ink and charcoal...

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-..to create a version

-of Sisley's painting.

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-What are her aims

-with this painting?

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-I'm just painting a quick sketch.

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-I'm just trying to get a feel

-of the location and the atmosphere.

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-Can you see any connection between

-your painting and Sisley's painting?

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-I've copied Sisley in some ways.

-I've moved the island.

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-Sisley did exactly the same.

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-It's made the composition

-more interesting.

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-The composition

-is almost exactly the same.

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-I don't want to use exactly

-the same colours in my painting.

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-I've used black and white

-to get the tone right.

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-I like the way she's dealt

-with the beach in the foreground.

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-Artists today work differently

-from the way Sisley worked.

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-Sisley's work was based

-on what he could see.

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-Artists today combine

-different methods.

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-They work with different objects.

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-What is the importance

-of these objects...

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-..to your process?

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-Some people might not see the

-relationship between the objects.

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-I know that when I'm at home

-in the studio...

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-..I'll be using the objects

-and adding them to the work.

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-I won't be using

-this painting again.

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-I'll make an abstract image

-of the landscape...

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-..and I'll use the colour and shape

-of these objects in the painting.

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-I'll be incorporating this shape

-in the landscape somewhere.

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-In some ways, I'm returning them to

-the landscape after removing them.

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-Will you take them back

-to the studio?

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-Yes. I'll feel as if I've taken

-a part of Penarth home with me.

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-Before visiting Penarth, Sisley

-had exhibited over 100 paintings...

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-..in Paris.

-He failed to sell any of them.

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-Under the instructions

-of his loyal sponsor in France...

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-..Sisley visited south Wales.

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-However, he also had

-a personal motive for coming here.

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-Eugene, his partner of 30 years,

-travelled with him.

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-His family

-had never acknowledged her.

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-When Sisley arrived in Penarth,

-this is where he stayed.

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-They stayed in south Wales

-for two months.

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-Eugene wasn't well at the time.

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-Art students from the local school

-were drawing on the pier...

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-..when we were there.

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-Wonderful. Observe closely

-everything that you draw.

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-Don't make it up.

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-It was a pleasure to see these

-budding Sisleys enjoying themselves.

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-There are plenty of subjects

-around Penarth.

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-The shapes and colours

-of these objects...

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-..have started appearing

-in this painting.

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-The turquoise and the blue...

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-..and the different shapes.

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-This is the shape of the stone

-but it also represents the sea.

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-What do you think of the colours

-in your painting...

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-..when you compare them

-to Sisley's painting?

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-I've tried to use similar colours.

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-They are the same colours

-we can see out there.

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-The only colour I haven't included

-is green - I don't like green!

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-I wanted to concentrate on the

-pinks, the blues and the turquoise.

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-When you're painting a landscape,

-you rearrange the objects.

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-I like working in a way

-where I can move things around.

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-I didn't want to create a painting

-like he did.

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-I wanted something more personal

-that I could relate to.

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-It's the way I've responded

-to the scenery...

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-..without losing sight

-of the original painting.

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-It's a contemporary version.

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-In the meantime, I retraced

-Sisley's steps along the cliff top.

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-Do you think Sisley's painting

-is a success?

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-I think it's a fresh

-and lively painting.

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-What strikes you immediately

-when you see that painting...

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-..is the colour.

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-It's very lively and clear.

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-When the Impressionists

-painted in the open air...

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-..they noted the colours honestly,

-as they saw them.

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-There was a lot of theory

-involved with colour...

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-..and how to get colours

-to counteract each other.

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-The colours are brighter.

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-In some ways,

-the colours are unnatural.

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-What the Impressionists also did

-while working in the open air...

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-..was notice that shadows...

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-During Constable's time, for

-example, the shadows were dark.

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-The Impressionists noticed that

-the shadows were full of colour.

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-Their shadows were purple and blue.

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-I can see a lot of colour here.

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-The shadows are grey and purple

-in this painting.

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-On August 5th, ten days

-after arriving in south Wales...

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-..Alfred and Eugene

-were married in Cardiff.

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-To safeguard the inheritance

-of their children...

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-..they married

-in a registry office...

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-..far from the gaze

-of the intrusive public in France.

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-After the wedding, Sisley and Eugene

-spent their honeymoon on the Gower.

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-This is his painting

-of Langland Bay.

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-These paintings are full of light

-and reflect his personal happiness.

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-But Sisley was about

-to bid farewell to his art.

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-I was looking forward to seeing

-how Mary had dealt with the cliffs.

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-I visited her in her studio in the

-attic of her house in Aberystwyth.

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-Has she developed the original

-sketches she drew on the beach?

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-These have developed

-from looking at the cliff face.

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-The most striking feature

-about the cliffs is the red colour.

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-The old Devonian red.

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-That's part

-of the location's character.

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-I do like using red in my paintings

-- red and purple.

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-I can see a lot of blue

-in the rocks.

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-It appears far stronger

-when combined with red.

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-There's a contrast between both.

-It's very dramatic.

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-The composition of your painting

-is very interesting.

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-Sisley painted a normal horizon.

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-In your painting,

-the horizon stretches to the top...

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-..and further beyond the top.

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-That's why I was so interested

-in the cliff.

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-I'm so used to looking up.

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-If you live in a valley,

-you're constantly looking up.

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-I painted this when I was on top

-of the cliff talking to you.

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-That's more traditional.

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-It's the same scenery

-that Sisley painted.

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-There were a lot of wild flowers

-in the scenery.

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-Tell me more about the colour.

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-You have to respect this colour -

-it's Bengal rose.

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-It's a strong colour.

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-When I'm trying to work out

-how things are developing...

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-..I place a frame around it.

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-I can see the rhythm

-of the painting developing.

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-The way you move when you paint.

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-The grass was swaying in the wind.

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-It seems to have a creative link

-when it comes together.

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-I've done a lot of studies

-like this.

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-I like to work towards a point...

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-..where the painting tells me

-what's needed next.

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-You communicate with your paintings.

-They're your family!

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-They are my children!

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-What's the next step? Which

-painting will you develop further?

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-I think there's

-a strong possibility with this one.

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-When I move on...

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-..I'll pin up some of

-the smaller pictures and those two.

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-That will be my starting point.

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-This painting is starting

-to adopt its own personality.

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-If you choose to develop this one...

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-..what kind of scale will you use?

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-I don't like making

-small oil paintings.

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-I'll be looking to make something

-that's three feet by four feet.

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-That's the smallest scale.

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-I enjoy making large oil paintings.

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-I travelled to Rhydyclafdy,

-where Therese's family lives.

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-She paints in the cellar.

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-Sisley painted another painting of

-Penarth in the opposite direction.

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-We rarely see this painting.

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-It is currently kept

-in a gallery in Hanover...

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-..under the title

-'The English Coast'.

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-A painting of this scenery hangs in

-the Musee des Beaux-Arts in Reims.

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-Sisley painted many versions

-of this scenery.

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-His version in pastel colours

-is in Ohio, USA.

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-Our picture in Cardiff

-has far warmer colours.

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-Sisley didn't finish his paintings

-in Wales.

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-He took them back to France

-to finish them.

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-That year,

-Eugene died at their home in Moret.

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-Sisley died the following year.

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-They both died of cancer.

-They were in their 50s.

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-Can you explain your painting?

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-I'll try my best.

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-Many people will look at it

-and ask, "Where is Penarth?"

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-Sisley took

-a traditional viewpoint...

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-..and painted

-what was in front of him.

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-I've tried to take

-a different viewpoint...

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-..using everything I've found there.

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-There are different elements

-of Penarth in the painting.

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-There are objects I found

-on the beach.

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-You can see an interpretation

-of Steep Holm here.

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-I found a lot of burnt objects

-on the beach.

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-There were many different textures.

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-These are the colours I observed

-in the sea.

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-I've tried to include the tankers

-in the painting.

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-The boats were constantly

-sailing past when I was painting.

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-I've included them in the painting.

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-I want to show you some of these.

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-It'll help explain how I've tried

-to fit them into the painting.

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-Do you remember this plastic piece?

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-I've tried to incorporate it there

-in an abstract way. It is there.

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-I've fitted this shape here.

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-I've included

-this plastic piece here.

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-I found a lot of fishing wire.

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-I found a lot of fishing wire.

-

-Gut.

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-I've included some of it here.

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-Did you cut some of it up?

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-No. When I work,

-I rip pieces of the canvas.

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-Bits of the material fall off.

-I've used some of it here.

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-I don't like using

-the original objects.

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-I don't know why.

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-That's very interesting for me.

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-I thought you were going to use

-what you found in the painting.

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-You don't - you create something

-different to represent the object.

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-It's important for me to create

-everything in the painting.

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-I like the way the painting moves.

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-Parts of the painting

-have settled down...

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-..while other parts

-want to move with the tide.

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-It's very different

-from Sisley's painting.

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-I think it's been a great success.

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-Mary's in the art college

-in Aberystwyth.

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-The college was built

-by the Davies sisters...

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-..who gave their Impressionist

-collection to the National Museum.

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-I think the structure

-is very successful - it's strong.

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-That's the first thing I noticed.

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-I can see different brush stokes

-in different parts of the painting.

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-This section is very different

-from this section.

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-This is a far more determined

-section - it's a lot wilder.

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-I try and keep

-my brush strokes fresh.

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-I want it to look instinctive

-and almost accidental.

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-That happens, but then, I want

-to include some other features.

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-I've tried to include

-the fossils in the painting.

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-The shapes are very similar

-to early forms of language.

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-I like the way

-some of them are disappearing.

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-They appear and disappear

-in the painting.

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-I like the uncertainty,

-in some ways.

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-I can see it here, too.

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-It's part

-of the painting's geography.

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-That's what I tried to do.

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-I like to include

-a sense of mystery...

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-..where you can't

-quite see everything.

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-Did you think about Sisley's work

-when you painted this?

0:22:450:22:50

-What stands out in Sisley's painting

-is the way he uses colour.

0:22:500:22:55

-That's what I've tried to do

-here and there.

0:22:550:22:58

-The colours are dancing around

-the painting.

0:22:590:23:02

-There are different notes across

-the painting. # Ping, ping... #

0:23:020:23:08

-That's what I've tried to convey.

0:23:080:23:10

-The ping is the rich qualities

-you can find in the cliffs.

0:23:100:23:15

-Mary has some lyrical qualities

-in her painting.

0:23:150:23:20

-Water lilies are important features

-for Impressionists.

0:23:260:23:30

-They have beautiful qualities.

0:23:300:23:32

-Therese has discovered

-another source of beauty.

0:23:330:23:36

-During his brief stay in Penarth...

0:23:410:23:43

-..Sisley reached the climax

-of his emotional and creative life.

0:23:440:23:48

-S4C subtitles by Rh Sion Morgan

0:24:000:24:03

Osi Rhys Osmond sy'n ymweld a Phenarth lle y'i paentiodd yr Argraffiadwr Eingl-Ffrengig, Alfred Sisley, olygfa o'r clogwyni. Visiting Penarth which inspired artist Alfred Sisley.