This paper examines Robert Henri's painting, The Beach, produced during his stay at Concarneau, in the French Bretagne. At the time, Henri was experiencing a conflict between the influence of French impressionists and his previous academic training. The painting is double-sided. The image in the front, The Beach was very yellow and discolored. This work was of particular interest, since it is one of the first outdoor paintings done by Robert Henri. On the back there is a portrait which was barely visible. In some places its outlines were almost invisible. This paper will discuss the technical aspects of these two works of art and propose hypotheses to account for their darkened state. It will also describe the cleaning process and the method used to stretch the double-sided canvas.