Card 12, from the Girl Cyclists series (N49) for Virginia Brights Cigarettes 1887

Curator: This captivating print, created around 1887, is "Card 12, from the Girl Cyclists series (N49) for Virginia Brights Cigarettes," produced by Allen & Ginter. It resides here at the Metropolitan Museum of Art. Editor: My initial feeling is a potent mix of admiration and critique. There’s an undeniable air of daring about this image – a woman boldly seated on what was then a fairly radical contraption. But it’s also clearly an advertisement, which complicates my interpretation. Curator: Exactly. It’s fascinating to consider the social dynamics at play. The image participates in the burgeoning late 19th-century "New Woman" ideal, showcasing female athleticism and independence, and it also simultaneously functions to sell cigarettes. This intersection tells a potent story about how changing perceptions of women were strategically mobilized for commercial gain. Editor: The bicycle itself became a symbol of female emancipation at the time, allowing women greater mobility and freedom. But to have this association used in the service of a product like cigarettes adds a layer of complexity. Was this empowerment real, or was it just another tool of the patriarchy? Curator: Precisely! What’s equally significant is that Allen & Ginter, the company who put out this card, played a pivotal role in pioneering cigarette cards – which became incredibly effective as marketing tools. Consider how the very act of collecting and trading these cards shaped consumer culture. This extends beyond cigarettes; these strategies were rapidly applied in selling all kinds of wares! Editor: The composition is so studied and deliberate – from her confident gaze to the careful arrangement of her riding outfit, you know. It speaks to a calculated performance of this 'new' woman that still leaves space for male consumption, even admiration, wouldn't you agree? The very limited color scheme of the photographic print only enhances this manufactured air! Curator: Absolutely. The limited color tones flatten any potential for grit or the sweat of exertion and render this entire scene as elegant— and essentially upper-middle class— entertainment. Editor: Ultimately, despite its commercial purpose, the image serves as a reminder of women's ongoing fight for autonomy, while revealing how their evolving roles have constantly been filtered through economic and political structures. Curator: For me, studying this seemingly straightforward image of a “girl cyclist” through socio-historical contexts highlights the critical roles institutions and political economies play in mediating both artistic output and social perceptions. Thank you.