Violet Mascotte, from the Actresses series (N245) issued by Kinney Brothers to promote Sweet Caporal Cigarettes by Kinney Brothers Tobacco Company

Violet Mascotte, from the Actresses series (N245) issued by Kinney Brothers to promote Sweet Caporal Cigarettes 1890

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drawing, print, photography

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portrait

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drawing

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print

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figuration

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photography

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men

Dimensions: Sheet: 2 1/2 × 1 7/16 in. (6.4 × 3.7 cm)

Copyright: Public Domain

Editor: Here we have "Violet Mascotte, from the Actresses series," a promotional print from 1890 by Kinney Brothers Tobacco Company. It's fascinating; the sepia tone lends such a nostalgic air, and I'm intrigued by how the figure is posed so elegantly. What historical context should we keep in mind when looking at this piece? Curator: Consider the era: this was a time of burgeoning consumer culture. Tobacco companies used these cards, often featuring actresses and other popular figures, as marketing tools inserted into cigarette packs. It's a form of early advertising leveraging celebrity endorsements, wouldn't you say? Think about how these images circulated: mass-produced, ephemeral, but shaping public perceptions of beauty and fame. Editor: So, this seemingly simple portrait reveals a lot about the intersection of entertainment, advertising, and the creation of celebrity. How did the representation of women in these images influence societal norms? Curator: Good question! Actresses were becoming influential figures, and these cards provided accessible images for a wide audience. This image normalizes, and in many cases romanticizes, the role of actresses while simultaneously endorsing a product-- tobacco. These portraits helped define feminine ideals, subtly reinforcing conventional notions of beauty while creating a demand and dependence of these consumer items. Did the image meet what we perceive as feminism today? Definitely not. Editor: It's like a snapshot of evolving social values, where advertising started playing a huge role. It does make you wonder about the impact of such ubiquitous imagery on the culture of that time, shaping desire and gender roles through consumerism. Curator: Precisely. The politics of imagery here are hard at work: Violet Mascotte isn’t just a person; she’s a carefully constructed commodity, simultaneously figure of aspiration and an advertisement for a product promising status or satisfaction. That really sticks with me, what about you? Editor: Absolutely, seeing this card, you understand it embodies a lot of cultural issues during the industrial age, now I have a lot more respect for such an everyday object.

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