In May 1892, the 24-year-old Amiet reached the small fishing village of Pont-Aven. Like many other artists, he lived in the pension of Marie-Jeanne Gloanec, a cheerful, down-to-earth Breton woman in her fifties, who looked after "her" artists like a mother. It was here that Amiet met Emile Bernard, Paul Sérusier, Armand Séguin and the Scottish painter Roderic O'Connor, with whom he became very close friends. Especially with O'Connor Amiet exchanged ideas about new goals in painting. These were no longer exhausted in the objective reproduction of what was seen, but rather the demand was to include subjective experience and sensations; to this end, the artists had discovered the expressiveness of elementary pictorial means. The stimulating climate among artist friends and the examination of the work of van Gogh, Gauguin and Cézanne proved to be very fruitful for the work of the young Amiet. The artist was particularly impressed by Gauguin's paintings - he was already in Tahiti at the time and was not due to return to Brittany for a last time until Amiet's departure for Switzerland. "The great experience", he noted years later, "was Gauguin and some paintings by van Gogh". Amiet turned away from academic tone painting and began to paint with pure colours, which he applied to the picture carrier in emphatically contoured areas or in strokes placed close together.
Amiet stayed in the small fishing village from May 1892 to June 1893, months that were to be of lasting importance for his artistic development. "Thirteen months I was able to stay in the beautiful Pont-Aven," the artist recalls in retrospect, "and then I had to leave France, my France, which I loved dearly, which had sheltered me like one of its sons, which voluntarily revealed its beautiful soul to me through art. Even if with empty pockets, but richly endowed with goods of a higher kind, I now returned to my homeland".
The "Prozession in Pont-Aven" belongs to the same narrow work that was created during Amiet's stay in Brittany. The extremely charming depiction of a traditional "Pardon", a religious procession in honour of local saints, would be unthinkable without his examination of the work of his Breton models, especially Gauguin and van Gogh. In his search for light and colour, he developed his own characteristics in the pointillist painting technique. This is based on the simultaneous interaction (simultaneous contrast) of small neighbouring spots of colour. Through optical fusion and additive colour mixing, the colour dots form themselves into shapes. Following this principle, the picture content of the painting is reduced to its most elementary forms, because the entire colour impression of a surface only emerges in the eye of the observer and from a certain distance. Amiet enthusiastically took up the suggestions of his artist friends and integrated them into his own style of expression within a few weeks. A sunny, luminous coloring and the visible brushstroke, which structures the picture surface in a concise manner, are among the most striking stylistic elements of his pictures created in Pont-Aven, as is also shown in the charming "Stillleben mit Fayence und Äpfeln".