In the end, the very unambiguous focus that Pissarro places on the peasants, coupled with his de-emphasis of the bourgeois figures, truly reflects his anarchist ideals and his rejection of "free sensation". By distancing the viewer from the bourgeois, Pissarro is expressing his wish for a distancing of the bourgeoisie from his ideal agrarian society; by creating a clear focus on the peasants, Pissarro emphasizes the great importance of their role in the economy and in society in general – a society where only the peasant is king. These marketplace paintings are, therefore, clearly central to Pissarro’s very philosophy of art. We must keep in mind, however, that Pissarro himself was bourgeois. As he said himself, rather bitterly, he was a “bourgeois…sans le sou” (without any money) (qtd Shikes, 45). Therefore, though these marketplaces paintings may have been, to quote Lloyd in Camille Pissarro, “a pictorial hymn to the interaction of city and country which would, for Pissarro, save the modern world from ‘embourgeoisement’” (Lloyd, 23), they were a rather rosy depiction of peasant life, seen “through the filter of bourgeois anarchist philosophy” (Shikes, 45) - very much a vicarious, and therefore not necessarily trustworthy, experience. After all, the peasants were virtually all soft, gentle female figures doing relatively easy work. Thus, although Pissarro attempts to place us, the viewers, on the peasants’ side in the marketplace, he himself is in fact on the other side.