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Inscription: Toute ma reconnaissance M. and Mrs. Morin, 92, Paris , lower right

In the 19th century, Paris was the city of choice for any young foreign artist wishing to further their education and soak up the effervescence of the French capital. Upon his arrival in 1891, Suzor-Coté quickly integrated into the community of already established Canadian artists such as Maurice Cullen, Ludger Larose and Joseph-Charles Franchère. It is in this favorable climate for learning that the young Suzor-Coté set about being accepted at the Ecole des Beaux Arts in Paris. Upon his arrival in March 1891, he produced several works to convince a professor to accept him in his studio. This step is necessary so that this master can prepare him for the entrance examination of the famous school. In June of the same year, he was accepted by Léon Bonnat (https://fr.wikipedia.org/wiki/L%C3%A9on_Bonnat), famous portrait painter. Marc-Aurèle de Foy Suzor-Coté was admitted on July 11, 1892 as a free student and then as a student in the painting section.

Landscape painting takes more place in the creation of the young apprentice and alongside the courses at the school of fine arts, he allies himself with the landscape artist of the Barbizon tradition, Henri Harpignies. It is possible that it is Harpignies who brings him to know the region of Cernay, himself frequenting it for his works, or it is also possible that it is his compatriot St-Charles. In sum, this region has attracted landscapers since 1830, Cernay has all the reliefs to please. According to Laurier Lacroix, in Suzor-Coté, light and matter:

"Cernay is the first nature school in Suzor-Coté, which must learn to choose the right motif and wait for the most suitable to highlight it. According to current critical language, it is about "feeling" the landscape in order to project an emotion, a feeling, to give it an expression. "

Here, in Sunset near Cernay la Ville, the motif is well chosen, several outlines ranging from the pond, to the fields, to the city's horizon and of the sky at dusk mark the painter's composition here. Like his master Harpignies, he favors gaunt and fuzzy trees. This work bears witness to the birth of the young artist's talent as a landscaper.

^{1 -} LACROIX, LAURIER,  Suzor-Coté, lumière et matière, Les Editions de l’homme, page 63. 

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