The x-radiograph of The Strongman attests to Daumier’s frequent custom of reworking a composition. A completely different figure wearing a striped jacket and a bicorne (two-cornered hat) lies beneath the man on the far right. In an earlier state, the curtain in the center of the painting was draped lower across the doorway. The bright white in the left half of the x-radiograph indicates the density of the paint in this area and reflects the number of times these passages were reworked.
Jackson Pollock began making collages in 1943 at the invitation of Peggy Guggenheim, who organized an international Exhibition of Collage at her gallery Art of This Century. The Phillips’s Collage and Oil, executed in 1951, is probably one of Pollock’s last collages.
In the Degas’s Dancers at the Barre: Point and Counterpoint exhibition catalogue, Phillips Chief Curator Eliza Rathbone details Degas’s intricate process behind his late masterpiece: “Having begun by observing the dancer from the outside, he ends his life’s work internalizing his chosen vehicle of expression to such a point that it becomes the bearer of […]