Pissarro's engagement with printmaking spanned from the late 1860s to the early 1890s. During this period, he produced a significant body of prints, creating multiple copies of his works to reach a wider audience. This aligned with Pissarro’s left leaning politics, and belief in social and political progress through increasing the accessibility of art. The medium allowed Pissarro to move from the more traditional to the experimental, using etching, aquatint, lithography and monotype. As with much of his oeuvre, Pissarro’s prints reflect his interest in depicting peasant life and rural settings, as is the case with the present work.

This print is dedicated to the Belgian neo-Impressionist artist Théo van Rysselberghe, who Pissarro calls a friend in his annotation. Two pivotal figures in the development of 20th century art, Pissarro and van Rysselberghe shared a close and meaningful artistic relationship built on mutual admiration for each other’s works. Pissarro's dedication to capturing the fleeting effects of light and his exploration of color harmonies greatly influenced Van Rysselberghe's artistic approach. Similarly, Van Rysselberghe's innovative pointillist techniques and meticulous brushwork had a profound impact on Pissarro's later works. Their exchange of ideas, techniques, and critiques contributed to the evolution of their respective artistic styles. Together, they fostered a spirit of experimentation and collaboration, pushing the boundaries of Impressionism and Neo-Impressionism.