Florence Baker, from the Actresses series (N203) issued by Wm. S. Kimball & Co. 1889

Editor: So, this is an albumen print from 1889, part of the "Actresses" series by Wm. S. Kimball & Co. The woman, Florence Baker, is strikingly posed; almost theatrical. What's fascinating is its existence as both a portrait and an advertisement. What's your read on it? Curator: It's essential to view this image within its socio-historical context. These weren't just portraits; they were trading cards included in cigarette packs. Consider the marketing strategy: associating actresses with cigarettes, shaping public perception of both. It speaks volumes about the role of women in advertising at the time, and how their image was used to promote consumption. Editor: I see your point. The cigarette company used images of women who were in the public eye as a way to sale their product. How did institutions affect this practice? Curator: Absolutely. Museums and galleries play a crucial role in shaping how we understand images like this now. The fact that it's in the Met allows us to look critically at how commercial images, even those seemingly trivial, contributed to a much larger narrative about consumer culture, gender roles, and the popularization of celebrity. What did these images mean to people back then, and what meanings have been layered onto them over time through exhibition and scholarly work? Editor: That's fascinating! It really makes you think about the power of images, especially when you consider the context and how institutions frame them. Curator: Precisely. It is about questioning what is absent, who is being addressed, and what agenda are being promoted in visual culture. Editor: It's been really insightful to unpack this image beyond its aesthetic qualities. Curator: Yes, seeing art as embedded in historical forces gives a fuller, more meaningful experience.