Technical examination of paintings in the Courtauld Gallery by Camille Pissarro and his son Lucian, provide evidence for a discussion of the relationship between father and son with regard to stylistic influence, materials and artistic practice. Correspondence between them illuminates the nature of Camille’s instruction of his son in painting, and provides the context for the comparison of the paintings in this study and of their wider oeuvre. Primary source material in the Pissarro Family Archive at the Ashmolean Museum, Oxford, including Camille’s drawings, Lucien’s sketchbooks and family photographs, further supplement the technical evidence from the paintings. Technical analysis of the Pissarros’ works has highlighted the use of similar materials by father and son, attained from reliable dealers. While Camille’s painting is direct and innovative, Lucien’s was influenced substantially by Neo-Impressionism. Their painting methods and attitudes to varnishing are discussed in relation to the surface aesthetic of their works.