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So where does sensation libre fit into these depictions of marketplaces that Pissarro later produced in France? An apolitical interpretation of Pissarro’s depiction of marketplaces, where peasants meet bourgeoisie and country life meets city life, is, at first, enticing. Joachim Pissarro states in his book Camille Pissarro that “the markets are their own stages” (Joachim Pissarro, 202), that they don’t need an artist’s intervention in order for the tensions between classes to be apparent. Thus, for Joachim Pissarro, his great-grandfather’s social criticism and the input of his political thought in the making of his marketplace paintings would be reduced to a minimum, since the markets would already be "free" by nature. Joachim also asserts that there is no clear focus in the paintings: “producers, consumers and chatters are not always easy to distinguish from each other”, “nor is it easy to identify precisely the object of interest” (Joachim Pissarro, 202); in other words, all the characters in the painting are presented in a haphazard, random manner. This, to a certain extent, is true: The Market in Gisors (1889), for example, although a figure composition, is very densely crowded; it is therefore hard, at first view, to pinpoint the exact focus of the painting. At first glance, therefore, it is possible to state that the peasant is not the focus of the painting, and thus that, again, Pissarro’s political statement in his artwork is negligible. Indeed, it may even be possible to go beyond Joachim Pissarro’s denial of any political commentary in his great-grandfather’s paintings of marketplaces, and make a case for sensation libre, free feeling, as the main source of inspiration in these paintings. Pissarro's manner of painting itself might be interpreted as being "free" and liberal. Another art historian, Christoph Becker, states in his book Camille Pissarro that not only the markets were by nature “free” (Becker, 97), but more importantly, that Pissarro used very liberal motifs when painting these markets, since he was “freely combining elements” (97). If so, these markeplaces like Gisors would be a direct expression not of Pissarro’s political ideals, but of an organic thought process that was precisely devoid of these perhaps stifling ideals and instead devoted to "free sensation".