For Camille Pissarro, as for Jean-Baptiste-Camille Corot, whom Pissarro admired and in whose company he sometimes painted, printmaking was an experimental medium. Although Pissarro never made a cliché-verre, he made close to two hundred etchings and lithographs, and even two relief plates on metal. He reworked some of his etchings over a period of many years, producing for some plates a dozen different states. This simple but affecting rendition of a landscape at Osny, a town not far from Auvers-sur-Oise—where Pissarro had made his etched portrait of Paul Cézanne—manifests both his love for nature and his use of light and dark areas to create a mood as well as a recognizable view.