In line with the plan of conservation and restoration of the paintings of Milan Konjović, in 2011, 4 pictures on canvas that required workshop treatment, specifically structural conservation. were taken from The Gallery MK One of these is a painting on canvas "Bathers in the Morava" a cubist experiment from 1922, when the painter was staying in France. The picture had a strong network of concave deformations across almost the whole area as a result of a white oil paint coating on the back. The surface of the colored coating was markedly deeply cracked, and in the places that were less damaged, in the triangular form, the red base was visible; during the movement of the painting to the working frame for doing the necessary works on stabilizing and consolidating of the painted layers, traces of an oil coat appeared on the edges of the curved canvas over the “blind” frame, which led us to the assumption that there was another painting hidden under the coating. Shots were taken using UV and IR filters (from 300nm to 1000nm) that, unfortunately, didn't give the necessary information about the hidden painting. Smaller probes confirmed the presence of lower oil layers. Delicate moments during the removal of the white coating were the choice of method and accurate assessment of the application time necessary to protect the original of from collateral damage. Good results were obtained with a mixture of ethyl acetate and dimethyl sulfoxide in a 1:1 ratio, thickened with klucel. Difficulties were caused by the uneven surface structure, pronounced ridges from rough brush strokes, both on the surface and in the original layer. Finally, after removal of the coating, a scene with two female figures in and one seated male figure playing the cello in an interior space appeared. There is no trace of attribution, so a stylish and comparative analysis of the painting is needed, but, for now, it is assumed to have been painted before Konjović went to Paris.At the back is the authors note in black oil paint: Swimming