Entrance to the Village of Voisins

Camille Pissarro painted the entrance to the village of Voisins artwork when he was living in Louvenciennes. Pissarro painted the artwork in between the year 1869 and 1872, and it is a landscape image of size 55.5 by 46 centimeters painted on canvas.

The painting has the image of a road in the middle of the image and a bright sky on the top side. There are trees on each side of the road and a horse pulling a wagon on the road. The path seems to divide the contents of the painting, while the two groups of trees on both sides of the road represent a proper organization of the art work. The content of the picture also depicts a calm, and sunny spring weather as the leaves are not yet out.

Members of the Barbizon School of Landscape Paintings influenced most of Pissaro's paintings. The members include; Gustave Courbet, Camille Corot, Charles-Francois Daubigny and Jean-Francois Millet. Pissarro's learned from a lot of artists, but Carot had a significant influence on Pissarro's paintings than the rest. Corot tutored Pissaro, and they both had a liking for rural scenes full of nature. The naturalism sense in his artwork, as well as his love for outdoor paintings, were inspired by the works of Corot. The only difference between the paint works of Pissaro and that of Corot is that Corot revised his paintings in his studio, but Pissaro finished his work outdoors where he started thus giving it a more realistic feel.

Most of Pissarro's paintings have tranquil landscapes like those of Charles-Francois Daubigny as well as the down to earth realism of Gustave Courbet. Apart from the Barbizon School of landscape member's influence, Camille also had a unique style that favoured more of anarchist notions of the society. His images are more of rural settings and nature rather than social realism preferred by most artists of his time. Pissaro's paintings were so real that some critics called his work "Vulgar" because he painted what he saw without making edits. Entrance to the village of Voisins is one of his many paintings that capture the village life and empathy for peasant life.

The uniqueness of Pissaro's work is also harnessed by his ability to avoid political ideology and representing the real people struggles without idealising their experiences to fit his artwork intentions. Being a member of the Impressionism artists group, Pissaro's work must have received criticism from art critics who favoured academic paintings. Art critic Albert Wolf complained in a review that Pissarro should understand that trees are not violet and the sky the colour of fresh butter. The only limitation Pissaro had is that he doubted his capabilities in art up to a point where he did not have a permanent style. The doubt is well indicated when he shifts into and out of different art ideologies such as from impressionism to neo-Impressionism.