...Scans have revealed that Bazille frequently reused canvases, probably to save money. He often rotated the works 90 or 180 degrees, Hoenigswald says, but he worked without obscuring the previous work with a new ground layer of paint or scraping off the earlier pigment. “He’s not forgetting what’s underneath,” she says. “It’s extraordinarily difficult, disruptive, like white noise. He chose not to eliminate it, (so) he must have been getting some sort of inspiration.” As an example, Hoenigswald points to “Woman with the Peonies.” The curator can see where Bazille allowed the elements of a previous work to become the shadows of the flowers in this image. (http://www.mercurynews.com/2017/06/02/national-gallery-sleuth-uncovers-french-artists-secrets/)