Pissarro painted mostly landscapes, but his artistic techniques definitely varied over time. He painted Autumn Morning at Eragny in the vicinity of the Gisors commune, where Pissarro moved in 1884. His love of rustic nature persisted until his last days. Pissarro executes the composition with rigor and thoroughness. He creates dynamic shapes with thick, heavy-bodied strokes. He introduces the figure of a peasant with a horse to his rustic landscape, following the patterns once set by Jean-François Millet. From the 1880s, Pissaro started his creative pursuit of orderliness and constructibility, the features that defined his style in the later years. He used dotted strokes to paint the tree crowns, which reveals his acquaintance with the developments of Seurat and Signac, the masters of neo-impressionism. By 1890 Pissaro had almost abandoned the pointillist technique, considering that it was too “intellectual, " but in this painting it is still clearly visible. The artist uses pure saturated colors to render the impression of morning light. His landscape seems to be filled with acerbic odors of the autumn earth. Sometimes Pissaro was called a “painter of land” and “the most rustic artist” among the impressionists.