This powerful print owes its narrow format and bold outlines to the Japanese influence that had captivated Henri-Charles Guérard in the 1880s. The jockey surging straight at us is identifiable to anyone familiar with Edouard Manet's lithograph The Races (about 1869, pictured) because Guérard isolated one of Manet's riders to make his print. Guérard had married one of Manet's students, Eva Gonzales, and ended up printing Manet's plates for him when he became paralyzed.