her last name, wishing to be known simply as Orovida for the rest of her life. (Her uncle Georges Henri Manzana Pissarro, similarly, had obfuscated his name, signing his work simply with his grandmother's maiden name, Manzana.) Despite distancing of herself from the family's fame, she remained proud of the Pissarro legacy. Her spurning of Impressionism was more than just distancing herself from the Pissarros. She considered Western art to be in competition with photography, while Eastern art was more suited to her independent nature. She never visited the Far East; her inspiration came solely from the works she had seen in museums and elsewhere. Orovida painted with thin washes of gouache or tempera on silk, linen, paper, and gold leaf. Her paintings as well as her etchings depict primarily Asian subject matter. Her most frequent subjects were animals, especially tigers and horses, which she depicted in a decorative, Asiatic, stylised, linear manner. Another favourite subject was Mongolian horsemen hunting wild animals; others included Persian princes and African dancers. Later years For the last quarter century of her life, after her father's death in 1944, Orovida resumed oil painting, with a marked shift in style and choice of subject. Her work became more naturalistic and somewhat more akin to the Pissarro tradition. She melded her Asiatic leanings with a more substantial European look. The result has been compared to dry fresco. Her subject matter during this period includes portraits of family and friends, royalty, and especially a variety of cats from domestic to wild. Orovida was a prolific printmaker, producing about 8,000 impressions from 107 etched plates. In a 2001 book, her etchings and family connections are assessed: "Her original, craftsmanlike, modern decorative prints would have earned her a fine reputation regardless of such connections but would not likely have drawn as much attention." Her mother had established the Pissarro family archive at the Ashmolean Museum in Oxford, and Orovida played a significant role in developing it. Orovida never married. She died on 8 August 1968. In 1969 the Ashmolean Museum put on a memorial show of her paintings, etchings, and drawings. Another posthumous exhibition, Three Generations of the Pissarro Family, was held at the Leicester Galleries. She had participated in a show of that same name in 1943. Her work may be seen in many prominent collections in Britain, including the British Museum and Victoria and Albert Museum in