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By 1888 Camille Pissarro was nearly 60, the oldest of the Impressionists and the only one who had shown in every one of their exhibitions. Yet here he is starting over. He had fallen in with two much younger painters, Georges Seurat and Paul Signac, and taken up their method of building a picture out of tiny separate dots of pure colour, meant to mix in the viewer's eye rather than on the canvas. This scene of women gathering apples was painted near his house at Éragny, a village north-west of Paris where he had settled a few years earlier. The dotted technique was painfully slow, and within a couple of years Pissarro gave it up, complaining it made it impossible to catch a fleeting effect of light. He was back to looser brushwork by the early 1890s.