Editing Camille Pissarro (section)

===Use of natural outdoor settings===
[[File:Camille Pissarro 012.jpg|thumb|left|''Entrée du village de [[:fr:Voisins (Louveciennes)|Voisins]]'', 1872. [[Musée d'Orsay]], Paris.]]

During this period Pissarro began to understand and appreciate the importance of expressing on canvas the beauties of nature without adulteration.<ref name=Rewald/>{{rp|12}} After a year in Paris, he therefore began to leave the city and paint scenes in the countryside to capture the daily reality of village life. He found the French countryside to be "picturesque," and worthy of being painted. It was still mostly agricultural and sometimes called the "golden age of the peasantry".<ref name="Gallery2"/>{{rp|17}} Pissarro later explained the technique of painting outdoors to a student:

:"Work at the same time upon sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression."<ref>{{cite book |last=Rewald |first=John |title=The History of Impressionism |publisher=Harry Abrams |year=1990 |page=458 |isbn=978-0810960367 }}</ref>

Corot would complete his paintings back in his studio, often revising them according to his preconceptions. Pissarro, however, preferred to finish his paintings outdoors, often at one sitting, which gave his work a more realistic feel. As a result, his art was sometimes criticised as being "vulgar," because he painted what he saw: "rutted and edged hodgepodge of bushes, mounds of earth, and trees in various stages of development." According to one source, such details were equivalent to today's art showing garbage cans or beer bottles on the side of a street. This difference in style created disagreements between Pissarro and Corot.<ref name=Masters/>