The medium of zincography was favored by Paul Gauguin, Emile Bernard, and others working near the rural village of Pont-Aven in the late 1880s and early 1890s.
Because of the lack of professional printmaking facilities in Brittany, zincography provided a convenient and affordable alternative to traditional lithography.
Additionally, the unique graininess of the zincographic print suited the rough, primitive aesthetic extolled by the School of Pont-Aven.
The artist Emile Bernard experimented intensely with printmaking, combining a variety of complicated techniques.
It is believed that for his religious imagery, he first carved his designs into a woodblock and then transferred the image to a zinc plate prior to printing.
Caroline Boyle-Turner, The Prints of the Pont-Aven School: Gauguin and his Circle in Brittany, Lausanne 1986
Agnieszka Juszczak e.a., Paul Gauguin: The Breakthrough into Modernity, Amsterdam 2009
Dennis Delouche, Les Peintres de la Bretagne, Quimper 2012