Ludovic Rodolphe Pissarro, born on November 21, 1878 was Camillle Pissarro's fourth son and was named after Camille's close friend, the painter Ludovic-Piette, who had died the previous year. He soon came to be known as Rodo, and usually signed his works Ludovic-Rodo.

In 1894, at the age of sixteen, Rodo published his first wood-engravings in the anarchist journal written in the vernacular of the working class, " Le Pere" Peinard. Camille left France for the safety of Belgium during the anarchist upheavals of that year. Rodo joined him there and became well acquainted with the ideas about decorative art of Theo van Rysselberghe and Henry van de Velde. One of Camille's  closest friends at this time was the painter Maximilien Luce, who shared his political views and was always welcome at Eragny. Rodo too became friendly with Luce who taught him wood engraving techniques.

In 1898 Rodo visited his brother Lucien in London and then joined Camille in Amsterdam, where they found a large Rembrandt exhibition fascinating. Also in this year Rodo shared a studio in Montmartre with his brother Georges, and then in the following year the pair went to Moret-Sur-Loing, where they visited Sisley. As Camille's son Rodo came to know many artists, some of whom were coming to prominence at this time, for example Monet, though there were others, like Sisley and Camille himself, who were finding it more difficult to establish themselves, and he was consequently very well aware of the perils of being a professional artist.
            
Rodo largely divided his time between Moret, where Georges lived and Paris.  He also traveled extensively, spending some of his time with his father in Dieppe in 1901, and again the following year when together, with Julie, Cocotte and Paulemile, he stayed at Berneval. In the summer of 1903 he was painting in Brittany.  It was from there, having received news of Camille's illness, that he went to be with his father during his last days in November of that year.

The impact of Camille's art and teaching on Rodo was obviously considerable, but in his own work he aligned himself more closely to artists like Toulouse-Lautrec, Maurice de Vlaminck and Raoul Dufy. He found the Paris nightlife, with it's cabarets, nightclubs and theatres, compelling subjects for painting , and he participated in the Fauve exhibition at the Salon des independants in 1905. Like Lucien, he also spent a considerable amount of time in London and many of his paintings are of familiar London landmarks.  Following his fathers example, Rodo painted views from upper floor windows so that he was somewhat removed form the bustle of traffic and pedestrians in the street below. However, he found life in England difficult and was several times ejected from the new English Art Club. Like his father, he found that such rejections consider alternative forms of exhibition. Therefore, with Lucien, he established the Monnarro group in 1915 with the aim of exhibiting work by contemporary artists inspired by Impressionism.

Rodo is perhaps best remembered today for undertaking the cataloguing of his father's oeuvre oevre. This project took him more than twenty years and resulted in the 1939 two-volume publication that is, to this day, the standard work, with an introductory critical essay by Lionello Venturi. Rodo told Lucien that the compilation of this catalogue was a fascinating task, revealing as it did" the work of the artist, it's highs and lows, it's progress as a whole through acquired experience"

Throughout his life the influence of Camille was paramount. Through him Rodo was encouraged to become an artist, and was introduced to many of the leading figures in the contemporary art world. However, it is through Rodo's cataloguing of Camille's work that his name is familiar to generations of art historians, many of whom know nothing of his artistic contributions.
            
Ludovic-Rodo died in 1952 at the age of seventy-four, and is buried in the Cimetiere St Vincent, Montmartre.