In 1893, Paul Durand-Ruel’s Paris gallery exhibited the color woodcuts of Utagawa Hiroshige and Kitagawa Utamaro, an exhibition Maurice Prendergast, studying in the city, may well have seen. Certainly, his awareness of Japanese prints is evident in his monotypes, one-of-a-kind prints made through the painterly application of ink onto a flat surface (typically metal, glass, or plastic), then pulled through a press. The influence of Japanese prints is reflected in After the Review, with its high horizon line, the strong diagonal thrust of the winding road, and the zigzag arrangement of people strolling on a pathway, including elegantly dressed women and girls with unfurled umbrellas.