The use of Japanese printmaking techniques by a handful of French engravers was part of a dual process involving the revival of the original woodcut and the advent of colour in Western printmaking. The influence of Japonism was apparent in the experimentation with xylography techniques and printing methods: engraving of one woodblock per colour, use of watercolour pigments, and water-colour printing. Henri Rivière and Auguste Lepère were pioneers in this movement in the late 1880s, followed by the work of Amédée Joyau, Tony and Jacques Beltrand, and Adolphe Beaufrère. In the early twentieth century French Japanese-style woodcuts continued in the work of Prosper-Alphonse Isaac and Jules Chadel then, during the 1920s and 1930s, in the work of Geo-Fourrier.