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The Pissarro’s hub of painting activities in his late years was his house in Éragny-sur-Epte to which he moved in 1884. He continued to execute his paintings, until his death in 1903, in his studio into which he remodeled a barn in the garden leading to an apple orchard. Éragny is located about 70 kilometers northwest of Paris, and 30 kilometers down the Epte River that flows past Éragny is Giverny, where Monet lived from 1883 onward and painted his Water Lilies series. While he spent most of his time at his house in Éragny, Pissarro also often visited Paris and painted both scenes of rural life and urban life. During this period, due to the fact that regularly having solo exhibitions of his work was guaranteed under the exclusive contract he signed with the Galerie Durand-Ruel, he enjoyed a stable environment and favorable conditions in terms of his age, his financial situation, and also his artistic skills. In 1900, Pissarro continued to create paintings in Paris from the previous year until April. He then returned to his home in Éragny and worked on painting over a period from spring to early summer in May to June. In the summer season from July to September, he traveled to Berneval-le-Grand, a summer resort on the Normandy coast, and then returned to Éragny again in the fall between October and November. There are five spring landscapes and four autumn landscapes that Pissarro painted in Éragny in this year. Among them, one spring and one autumn landscapes are now housed in the Tokyo Fuji Art Museum. As mentioned above, in the spring (May or June) of 1900 when this work was created, Pissarro concentrated on painting idyllic scenes during the height of spring in his studio near the orchard in Éragny. In his letter dated May 7, Pissarro poured out his passionate feelings toward the blooming orchard trees in Éragny. In this painting, he depicted a blossoming paradise in Éragny in a refreshing and lighthearted fashion. Pissarro probably attempted to capture the vividness of the new green leaves in the moist spring and the delightful beauty of the apple tree flowers in full bloom amid the cloudy sunshine typical of spring days. In a series of paintings such as this, Pissarro captured a momentary visual image of the ever-changing natural world on his canvas. Compared to Monet, who at this time was mainly interested in how colors were changed by light, Pissarro enjoyed creating variations of the same landscape by shifting his position and changing his perspective and leveraging changes in the season (spring, summer, autumn, winter), the time of day (morning, afternoon, evening), and the weather (clear sky, cloud, rain, snow).