In August, 1884, the American artist Charles Sprague Pearce purchased a farm in Auvers-sur-Oise, a town some twenty miles northwest of Paris on the banks of the Oise river. While many other artists have worked in the area, including Daubigny, Corot, Cezanne, Daumier, and Pissaro (in nearby Pontoise), this relocation more closely aligned Pearce with his French naturalist contemporaries. As Mary Lublin writes, “the northeastern area of France was especially fertile for naturalists, with each artist devoted to his own coin de terre. Jules Breton was identified with Courrières… Bastien Lepage with Damvilliers… Dagnan-Bouveret worked in the Franche-Comté… (and) in Auvers, Pearce began his examination of the ways of nature in earnest” (A Rare Elegance: The Paintings of Charles Sprague Pearce, New York, 1993, p. 33). This can be seen in the careful study of these two shepherds and the yellow grasses of the field, all rendered in a harmonious and soft palette that is immediately recognizable as Pearce’s.