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Yet is this so? By simply observing the very structured and planned nature of Pissarro’s paintings, however, we can essentially dismiss Becker’s reading of his marketplaces as “free” and liberal – an expression of Pissarro’s free sensation rather than his political ideals, because Pissarro made so many sketches and drafts in order to achieve what was then a final product: the painting of the markeplace. The figures of the peasants, in particular, were re-worked many times before Pissarro was satisfied with them. For example, The Pork Butcher (1883) was the result of numerous sketches and studies, such as Study for the Pork Butcher.
Pissarro even re-painted part of the image: as the art historian Richard Thomson states in his chapter The Image of the Market: Exchange between Country and Town, x-rays “reveal that originally the right-hand figure was painted looking at the wares on display” (Thomson, 69). This is indeed visible in X-ray of upper section of The Pork Butcher.
Also, the pose and configuration of the painting are very similar to those seen in Degas’ Women Ironing (Thomson, 69); this imitation reflects Pissarro’s breaking away from free sensation.
The Poultry Market was similarly extremely planned and thus devoid of “free feeling”: as states another art historian, Christopher Lloyd, in his article “The Market Scenes of Camille Pissarro”, the painting was, in fact, “an amalgamation of two separate market scenes” since “the left half was clearly conceived as an independent work” (Lloyd, 19); this is, indeed, visible in the painting. 
Also, Pissarro again did several studies for this painting, including Study of a Market and Study of a seated woman. All of these elements point to Pissarro’s very careful and deliberate planning out of his marketplace scenes – and thus, his stepping away from sensation libre, free sensation, in these paintings. 