Expanding Nationalisms at World’s Fairs: Identity, Diversity, and Exchange, 1851-1915

261 Pages·2021·7.25 MB·English

by  David Raizman (editor), Ethan Robey (editor)

Expanding Nationalisms at World’s Fairs
Expanding Nationalisms at World’s Fairs: Identity, Diversity, and Exchange, 1851–1915
introduces the subject of international exhibitions to art and design historians and a
wider audience as a resource for understanding the broad and varied political meanings
of design during a period of rapid industrialization, developing nationalism, imperial-
ism, expanding trade and the emergence of a consumer society. Its chapters, written by
both established and emerging scholars, are global in scope, and demonstrate specific
networks of communication and exchange among designers, manufacturers, markets
and nations on the modern world stage from the second half of the nineteenth century
into the beginning of the twentieth.
Within the overarching theme of nationalism and internationalism as revealed
at world’s fairs, the book’s essays engage a more complex understanding of ideas
of competition and community in an age of emergent industrial capitalism, and
investigate the nuances, contradictions and marginalized voices that lie beneath the
surface of unity, progress, and global expansion.
David Raizman is Distinguished University Professor of Art and Art History in the
Westphal College of Media Arts & Design at Drexel University in Philadelphia.
Ethan Robey is Assistant Professor of the History of Decorative Arts and Design at
Parsons School of Design, and Associate Director of the MA Program in the History
of Design and Curatorial Study run by Parsons and Cooper Hewitt, Smithsonian
Design Museum.
Routledge Research in Art History
https://www.routledge.com/Routledge-Research-in-Art-History/book-series/RRAH
Routledge Research in Art History is our home for the latest scholarship in the field of
art history. The series publishes research monographs and edited collections, covering
areas including art history, theory, and visual culture. These high-level books focus
on art and artists from around the world and from a multitude of time periods. By
making these studies available to the worldwide academic community, the series aims
to promote quality art history research.
The Gamin de Paris in Nineteenth-Century Visual Culture
Delacroix, Hugo, and the French Social Imaginary
Marilyn R. Brown
Antebellum American Pendant Paintings
New Ways of Looking
Wendy N.E. Ikemoto
Expanding Nationalisms at World’s Fairs
Identity, Diversity, and Exchange, 1851–1915
Edited by David Raizman and Ethan Robey
William Hunter and his Eighteenth-Century Cultural Worlds
The Anatomist and the Fine Arts
Helen McCormack
The Agency of Things in Medieval and Early Modern Art
Materials, Power and Manipulation
Edited by Grażyna Jurkowlaniec, Ika Matyjaszkiewicz, Zuzanna Sarnecka
National Identity and Nineteenth-Century Franco-Belgian Sculpture
Jana Wijnsouw
Expanding Nationalisms at
World’s Fairs
Identity, Diversity, and Exchange, 1851–1915
Edited by David Raizman and Ethan Robey
First published 2018
by Routledge
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and by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2018 selection and editorial matter, David Raizman and Ethan Robey;
individual chapters, the contributors
The right of David Raizman and Ethan Robey to be identified as the authors of
the editorial material, and of the authors for their individual chapters, has been
asserted in accordance with sections 77 and 78 of the Copyright, Designs and
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ISBN: 978-1-138-50175-1 (hbk)
ISBN: 978-1-315-15874-7 (ebk)
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Contents
List of illustrations vii
List of contributors xi
Introduction: communities real and imagined: world’s fairs
and political meanings 1
DAvID RAIzMAN AND ETHAN ROBEY
1 East meets West: re-presenting the Arab-Islamic world at the
nineteenth-century world’s fairs 15
DEBRA HANSON
2 From London to Paris (via Cairo): the world expositions and the
making of a modern architect, 1862–1867 33
CHRISTIAN A. HEDRICk
3 The Belgian reception of Italy at the 1885 Antwerp World Exhibition:
converging artistic, economic, and political strategies on display 50
DANIELA N. PRINA
4 A Danish spectacle: balancing national interests at the 1888 Nordic
Exhibition of Industry, Agriculture, and Art in Copenhagen 71
JøRN GULDBERG
5 A neoclassical translation: the Hôôden at the 1893 World’s
Columbian Exposition 92
HANNAH L. SIGUR
6 Paris, 1900: the Musée Centennal du Mobilier et de la Décoration
and the formulation of a nineteenth-century national design identity 109
ANCA I. LASC
vi Contents
7 “Our country has never been as popular as it is now!”: Finland at
the 1900 Exposition Universelle 130
BART PUSHAW
8 “A revelation of grace and pride”: cultural memory and international
aspiration in early twentieth-century Hungarian design 147
REBECCA HOUzE
9 When the local is the global: case studies in early
twentieth-century Chinese exposition projects 173
SUSAN R. FERNSEBNER
10 The 1910 Centenary Exhibition in Argentina, Chile, and Uruguay:
manufacturing fine art and cultural diplomacy in South America 195
M. ELIzABETH BOONE
Bibliography 215
Index 239
Illustrations
I.1 Prince Albert Memorial, kensington Gardens, London (Photograph
date: ca. 1876-ca. 1885) 5
I.2 Rosenborg Mineral Spring Water Establishment Display, 1888
Copenhagen Exhibition of Art, Industry, and Agriculture 9
1.1 “The Opening Ceremony,” lithograph 17
1.2 “Tunis I: The Arab Tent,” lithograph 20
1.3 “Tunis II,” lithograph 21
1.4 “A Peep Into Tunis, or a Walk thro’ Rag Fair,” lithograph 22
1.5 Woven silk sash, Tunisia, c.1850 23
1.6 Alfred Chapon, “Bardo,” Pavilion of the Bey of Tunis, Exposition
Universelle 1867, Paris, sectional print 26
2.1 Carl von Diebitsch, Mausoleum for Sulayman Pasha, Cairo,
Egypt. c.1863 37
2.2 Carl von Diebitsch, Mausoleum for Sulayman Pasha, Cairo, Egypt.
c.1863. zinc dome 38
2.3 Carl von Diebitsch, Mausoleum for Sulayman Pasha, Cairo, Egypt.
c.1863. Detail of iron fretwork at entry 38
2.4 Carl von Diebitsch, Moorish Kiosk, Exterior view, 1867 40
2.5 Carl von Diebitsch, Moorish Kiosk, Interior, 1867 40
2.6 Plan of the 1867 Universal Exhibition. The kiosk is in the upper left
section (circled) 41
2.7 “Le Secteur prussien.” 42
2.8 “Prusse et Allemagne du Nord – Galerie des Matières Premières.” 42
2.9 “Exposition Prussienne – Pavilion Oriental.” 44
2.10 “Pavillon Impérial au Champ-de-Mars.” 44
3.1 The exhibition building erected in the Cinquantenaire Park for the
1880 Jubilee Exhibition 52
3.2 Alfredo de Andrade, Borgo Medievale built for the 1884 Exhibition
in Turin 55
3.3 Gédéon Bourdiau, Monumental entrance gate at Antwerp’s
Exhibition, 1885 57
3.4 Camillo Riccio, The Italian section at Antwerp’s 1885 Exhibition 58
3.5 Jewellery by Giacinto Melillo exhibited in Antwerp, 1885 59
3.6 Ceramic by Pio Fabri exhibited in Antwerp, 1885 61
3.7 Ceramic by Cantagalli exhibited in Antwerp, 1885 62
viii Illustrations
3.8 Ceramic by Richard exhibited in Antwerp, 1885 62
3.9 “Feuilles de chène,” a model used at the Saint Lucas Schools in
Ghent, 1882 64
3.10 A page from the article “La prima esposizione internazionale di
arte decorativa moderna.” 66
4.1 Souvenir lithograph of the exhibition grounds 72
4.2 Entrance of the main building 77
4.3 The central hall in the main building with the section of applied
art, seen from the entrance 78
4.4 The display of a selection of ceramic works from P. Ipsen’s Widow’s
Terracotta Factory, Copenhagen 80
4.5a vilhelm koch, The king’s vase. P. Ipsen’s Widow’s Terracotta Factory 82
4.5b Suzette Skovgaard, (Association of Decorators), The troll who sucks
out the lake 82
4.6 The display of ceramics from The Royal Porcelain Factory 83
4.7 The Copenhagen company Ludvigsen & Hermann’s exhibition of
water traps and sanitary objects 84
4.8 The hall of machines with a row of steam engines from
competing firms 86
4.9 The working dairy with the newest equipment 87
5.1 kuru Masamichi, The Hôôden, World’s Columbian International
Exposition, 1893 92
5.2 view of the north end of the Wooded Island, showing the Hôôden,
the Women’s Building, the Illinois Building, the Government
Building, and the circular wing of the Fisheries Building.
Starks W. Lewis, Amateur, Brooklyn 93
5.3 Interior of the Left Wing (“Fujiwara Epoch”); Library in Right
Wing of the Hôôden (top); Tea Room in the Right Wing of the
Hôôden (“Ashikaga Epoch”) 94
5.4 “Central Hall”: “Jodan-no-ma” (bottom); kon-no-ma (top left),
Sho-Sai (top right) 94
5.5 Japan’s dedication 98
5.6 Byōdō-in Phoenix Hall, Uji, kyoto prefecture, Japan, 1059 100
5.7 Hashimoto Gahô, Hô-ô-(Phoenixes) at Play 101
5.8 Guze kannon (7th Century) 104
6.1 Exposition de 1900: Paris en 1400, la Cour des Miracles. 110
6.2 “L’Esplanade – vue Prise de l’Hôtel des Invalides.” 111
6.3 “Esplanade des Invalides – Les Palais de la Décoration et
du Mobilier, MM. Larche et Nachon, architectes; M. Esquié
architecte.” 112
6.4 “Musée Centennal du Mobilier et de la Décoration.” 113
6.5 “La veille du Sacre, 1804.” 115
6.6 “Le village Suisse. – Chalet d’Effretikon – Maisons de Berne.” 117
6.7 “Pièce Diréctoire.” 122
6.8 “Salon Empire.” 123
6.9 “Chambre à Coucher de Talma.” 123
6.10 “Salon Napoléon III.” 124
Illustrations ix
7.1 The artists Albert Edelfelt, Albert Gebhard, Axel Gallén (Akseli
Gallen-kallela) and Emil Wikström in Paris, Spring 1900 132
7.2 The Finnish Pavilion at the 1900 Exposition Universelle, Paris.
Photograph, 275 × 208 mm 134
7.3 Interior of the Finnish Pavilion and its construction team at the
1900 Exposition Universelle, Paris. Photograph, 208 × 272 mm 136
7.4 Emil Halonen, wooden relief sculptures in the Finnish Pavilion,
with Sámi and reindeer in the center 138
7.5 Beda Stjernschantz, The Glassblowers, (1894), oil on canvas,
175.5 × 179.5 cm 141
8.1 Hungarian installation of decorative arts at the 1900 Exposition
Universelle, Paris. Designed by zoltán Bálint and Lajos Jámbor 150
8.2 Ödön Faragó, Dining room, exhibited at the 1900 Exposition
Universelle, Paris, Hungarian section 151
8.3 Hungarian installation of decorative arts at the Turin 1902
First International Exhibition of Modern Decorative Art.
Designed by Pál Horti 153
8.4 Cover of Magyar Iparművészet 3 (1900). Illustrated by Pál Horti 154
8.5 Hungarian installation of decorative arts at the St. Louis 1904
Louisiana Purchase Exposition. Designed by Pál Horti. view of
wooden towers 156
8.6 Hungarian installation of decorative arts at the St. Louis
1904 Louisiana Purchase Exposition. Designed by Pál Horti.
view of mural by Aladár körösfői kriesch 157
8.7 Hungarian installation of decorative arts at the St. Louis 1904
Louisiana Purchase Exposition. Designed by Pál Horti. view of
folk embroideries 158
8.8 “Mission style” furniture including piano with “Indian motifs.”
Designed by Pál Horti for Shop of the Crafters, 1907 160
8.9 Hungarian installation of decorative arts at the Milan 1906
International Exhibition. Designed by Géza Maróti 162
8.10 Géza Maroti, Music room, exhibited at the Milan 1906
International Exhibition 164
9.1 Chinese Exhibit, Palace of Liberal Arts. St. Louis 175
9.2 “Curious Chinese Devices in Manufactures.” China’s displays
at the Palace of Liberal Arts included models of “a mill for the
manufacture of bean-oil and bean-cake,” as well as “sedan-chairs
and chair coolies; [a] salt-factory, wind-mill of lateens sails and
vermicelli factory in the order named.” 177
9.3 vice-Director Xiang Ruikun (Left) and Director Chen Qi (Right) of
the Nanyang “Encouraging Industry” Exposition of 1910 178
9.4 Officials, soldiers, and, on the far right, female attendants gathered
under the flags of diverse nations in a new kind of public ceremony
under the auspices of the Qing dynasty for opening day ceremonies
at the Nanyang Exposition 180
9.5 From zhili Province’s exhibition displays, manufacture samples
provided by the Beiyang Ironworks factory 181