Two markers: ‘Cottages at Auvers-sur-Oise’ (c.1873) is a sweet especial rural scene of faintly slovenly thatched cottages with, at its centre, an outside privy, its door modestly shut. A discreet little detail. Second, early in the exhibition, Corot’s ‘Duck-Pond’ (1855–60), an indicator of the tradition to which Pissarro belongs — a world of unconsidered trifles, granted a quiet importance.