Lucien Pissarro was the eldest son and pupil of Camille Pissarro. He grew up among the Impressionists, and frequent visitors to the family home included Monet, Cézanne and Guillaumin. Although he attempted a career in business, he quickly abandoned it and after spending the year 1883 studying in England, which he had already visited with his family during the Franco-Prussian war in 1870, he returned to Eragny and studied wood-engraving under August Lepère.
In 1885, both Camille and Lucien were introduced to Georges Seurat and his disciple Signac in Paris, and both were drawn towards Neo-Impressionism. All four artists’ work was shown together in a separate room at the eighth and last Impressionist show in 1886 (Lucien Pissarro’s entry consisted of woodcuts and watercolours). Pissarro exhibited with the Salon des Indépendants between 1886 and 1894. During this period he experimented with Divisionism; however, he continued to produce woodcut illustrations, prints and lithographs, which formed the major part of his work until 1900.
By then he was living permanently in England and he married a British woman, Esther Bensusan (1870-1951), with whom he formed the Eragny Press which produced thirty books before it was forced to close with the onset of the Great War. Pissarro, who had begun painting again after the turn of the century, began exhibiting with the New English Art Club in 1904, joined the Fitzroy Street Group in 1913 and the Monarro Group in 1919. Lucien Pissarro promoted Impressionist theories to artists such as Sickert, Spencer Gore and his close friend James Bolivar Manson with whom he went on painting expeditions and corresponded over many years. He made an important contribution in bringing a new impetus to British painting in the early years of the twentieth century.