Though noted for his attention to the female figure, Degas executed many studies of grouped horses and jockeys from which he would use figures in later compositions. Later in his career, Degas experimented with mixing drawing media and printmaking techniques. He began the drawing in 1885 using an impression from his 1877–78 lithographs of a concert at Café des Ambassadeurs, which he extended along the bottom and right edges, and drew over in dense strokes of pastel. Degas first produced a mono-type—a unique print made from drawing in ink on a metal or glass plate—of two singers on stage, seen from behind, with a view to the audience. He then enlivened the print with richly colored pastels. In the village of Diénay near Dijon, Degas recalled scenery from the drive through the Burgundian countryside and produced about fifty mono-type landscapes. To create this drawing, he used oil paint (and apparently his fingers) to indicate a few lines of landscape on the plate and printed one or two proofs, hanging them to dry. Later, he completed the composition with a rich layer of pastel.
Klimt's talent and brilliance as a draughtsman, however, was widely recognized only after Klimt's death. During his lifetime, he hardly sold a drawing nor did he exhibit them.