Throughout his career as a landscape painter, Camille Pissarro produced just over one hundred canvases during winter in which snow, or a variant of snow such as hoarfrost, white frost, or ice, plays a major role in the composition. Some of these works depict quiet village roads with townspeople on their way to or from their homes while others concentrate on the heavy, peaceful quality of a large snowfall on an isolated farm. These views were painted in a variety of locations, including Louveciennes, London, Pontoise, Montfoucault, Osny, Eragny, and Paris, and include suburban, rural, and city images of life in the late nineteenth century. Pissarro began this long series of works during the winter of 1868-69, and he continued to address the many complex issues of representing snow on canvas with oil paint for over thirty years, until the end of his life in 1903. Despite the wide variety of content and composition, these winterscapes have in common Pissarro's enduring love of nature, his great fascination with light and shadow, and his interest in humanity; in virtually every painting he includes a reference to human-kind — a house, a fence, or a small figure.
The Impressionists are, of course, best known for their landscapes of late spring and summer, full of lush foliage and fragrant flowers. However, this group of modern painters also explored these landscape on less pleasant days of the year, when weather conditions were cold and uncomfortable. Claude Monet, Alfred Sisley, and Pissarro were the three Impressionist artists who produced the most snowscapes. Despite the relatively large number of winter paintings in Pissarro's oeuvre (approximately eight percent of his entire output), he is not best known for his snowscapes, and little has been written about them. He was, however, extremely proud of his effet de neige compositions and exhibited at least nine views of winter at the eight Impressionist exhibitions held periodically from 1874 to 1886. With relatively few breaks over the course of his career, probably caused by warmer weather conditions (1880-81, 1883, 1896) or by changes in painting style (1886-88), Pissarro painted a least one canvas each year that celebrated the quiet and serene quality of a frosty winter day, and therefore he can be considered the most dedicated winter painter of the Impressionists. These views vary from true effets de neige, with substantial amounts snow on the ground, to lighter forms of winter precipitation, such as frost.