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Examining the painting Woman, Old Man, and Flower (1923–24) by Max Ernst with macro-X-ray fluorescence scanning (MA-XRF), X-ray radiography (XRR) as well as photography under ultraviolet (UVF), infrared reflected (IRR) and transmitted (IRT) illumination revealed the existence and sequence of three distinct paintings concealed under the final composition. The study confirmed a known and previously documented intermediate composition and uncovered two additional states: a very first state exposed by XRR, and a third state revealed in the elemental distribution maps obtained by MA-XRF. The complimentary images document the insertion, mutation, and concealing of several human and anthropomorphic subjects across the four layers, expanding our understanding of the painting and of Ernst’s collage-like pictorial development. In addition, a list of pigments is proposed based on the elemental information provided by MA-XRF, contributing to the technical literature devoted to the materials of Ernst’s paintings during the transitional period between Dada and Surrealism.

Max Ernst’s Woman, Old Man, and Flower (1923–24): Four Paintings in One Revealed by Technical Imaging