Pissarro's "Wooded Landscape at L'Hermitage, Pontoise" actually put globs of paint on to the canvas so that the shadows of those globs actually became part of the piece. He incorporated the physical volume of the piece in with the image portrayed by the colors of the piece. He, in a way, combined sculpture and painting.
The idea of incorporating the shadows of an art piece in with its intended effect can be seen in modern day museums, such as in Kumi Yamashita's piece shown below. In this piece, Yamashita actually used the shadow of her medium to create the art piece herself. The light is so crucial in this piece, that if there were more than one light source or if the light were in the wrong place, the meaning of the piece would be completely obscured.
To get a more detailed look, go to her website. Renoir's "Le Moulin de la Galette" and Stephen Meisel's portrait of Madonna both incorporate the spotted pattern of light and the effect it creates on the surfaces it touches.
Although I have not read of any connection between the two pieces, it is clear to me that the ideas presented by the Impressionist artists, such as Renoir, are still explored by modern artists. Some of the following links show pieces in which light plays critical roles. One artist plays with mirrors and an artist's easel to create stunning and thought provoking pieces. The other uses light and strings tohttp://miapearlman.com/CUT_PAPER/havoc.htm -paper out there
mark garry strings