Lithograph, final state (III) on chine collé; standard edition of 1884
sheet: 20 7/8 x 26 7/8in. (53 x 68.3cm)
plate: 15 1/4 x 20 1/8 in. (38.7 x 51.1 cm)
Rogers Fund, 1920
Not on view
During the Second Empire, horseracing was in vogue and the racetrack at Longchamps became a gathering place for fashionable society. A frequent subject of articles in the popular press and of many popular prints, the races drew an elegant crowd of aristocrats and wealthy prostitutes who mingled with bookmakers and bettors. Manet's print is distinctive for its dramatic departure from the traditional lateral view of the horses in favor of a radically foreshortened frontal view of the animals galloping directly toward the spectator posted at one of the curves.
Inscription: Imp. Lemercier & Cie. Paris
Marking: stamped, verso, l.r., mark of collector N.A. Hazard (Lugt 1975)
Nicolas-Auguste Hazard; Vendor: Maurice Gobin
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," April 14, 1997–July 20, 1997.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," October 20, 2008–January 11, 2009.
Jean C. Harris Edouard Manet: Graphic Works, A Definitive Catalogue Raisonné. New York, 1970, cat. no. 41.
Jay McKean Fisher, Detroit Institute of Arts, Berkeley Art Museum and Pacific Film Archive, University of California at Berkeley, Saint Louis Art Museum, Huntsville Museum of Art, Art Gallery of Ontario The Prints of Edouard Manet Exh. cat., International Exhibitions Foundation, Washington, D.C. International Exhibitions Foundation, Washington, D.C., 1985, p. 98, under no. 56 (as "standard edition...on chine close in size to the Bibliothèque Nationale proof").
Colta Ives "French Prints in the Era of Impressionism and Symbolism." in The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, New York, 1988 (Summer), pp. 8-9, ill.