St. Malo, France, from the Surf Beauties series (N232), issued by Kinney Bros. by Kinney Brothers Tobacco Company

St. Malo, France, from the Surf Beauties series (N232), issued by Kinney Bros. 1889

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drawing, lithograph, print, photography

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portrait

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drawing

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lithograph

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print

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photography

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genre-painting

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portrait art

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watercolor

Dimensions: Sheet: 2 3/4 × 1 1/2 in. (7 × 3.8 cm)

Copyright: Public Domain

Editor: This is "St. Malo, France," from the Surf Beauties series by Kinney Brothers, created around 1889. It seems to be a lithograph print. I’m immediately struck by the vibrant colors and the subject’s somewhat confrontational gaze. How should we interpret this piece today, given its history as a tobacco card? Curator: That’s a crucial question to start with. Tobacco cards were mass-produced objects, often featuring idealized images of women, but their circulation coincided with expanding colonialism and exploitative labor practices. This image, therefore, isn't just a pretty picture of a woman at the beach. It participates in the commodification of leisure, and even of femininity itself. What do you notice about her clothing and pose? Editor: She's wearing a bathing costume but seems almost overdressed, with ribbons and elaborate shoes. The pose feels staged rather than natural, like she's performing for someone. Curator: Exactly! The "Surf Beauties" series presents women as objects of spectacle, fitting neatly into a male gaze. Furthermore, we need to consider the imperial context. "France" is boldly proclaimed at the top, suggesting a connection between the desirability of the woman and the allure of French culture and territory. It’s an intersection of gender, class, and colonial power. Editor: So, even something that appears as simple advertising carries significant cultural baggage. It is much more than commercial portraiture. Curator: Precisely. We need to critically examine how images like these perpetuate power structures and shape our understanding of beauty and place. These were widely distributed, shaping perceptions for a broad audience. Editor: I see now. It challenges me to question the hidden narratives embedded within even seemingly innocent images. I didn't realize so much could be gleaned from something originally intended to sell tobacco! Curator: That critical lens allows us to excavate deeper truths about history and its lingering impact on the present.

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