Card 843, Eliza Long, from the Actors and Actresses series (N45, Type 2) for Virginia Brights Cigarettes by Allen & Ginter

Card 843, Eliza Long, from the Actors and Actresses series (N45, Type 2) for Virginia Brights Cigarettes 1885 - 1891

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drawing, print

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portrait

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photo of handprinted image

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drawing

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aged paper

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toned paper

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water colours

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photo restoration

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ink paper printed

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print

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tea stained

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coloured pencil

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men

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watercolour illustration

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watercolor

Dimensions: Sheet: 2 3/4 x 1 3/8 in. (7 x 3.5 cm)

Copyright: Public Domain

Editor: This is "Card 843, Eliza Long, from the Actors and Actresses series (N45, Type 2) for Virginia Brights Cigarettes," dating roughly from 1885 to 1891, by Allen & Ginter. It looks like a print, possibly with some watercolor. It has an antiquated and almost unsettling appearance to me, like a photograph that's been exposed to the elements for a long period of time, imbuing it with nostalgia. How do you interpret the visual components of this piece? Curator: Let us consider the semiotic structure. The sepia toning pervades the entire composition, creating a unified visual field. The actress, Eliza Long, is framed in what seems to be a meticulously structured, hierarchical arrangement. Consider how the light and shadow define the subject's form and attire, adding to a certain formality. The cigarette advertisement in the top left is neatly separated from the subject and provides some textural variance, does it not? Editor: Yes, the placement and darkness contrast the fair color palette employed in the rest of the card, thereby serving as a disruption. However, it maintains uniformity through its sepia. What strikes me is how the texture creates multiple components of what appear to be visual disruptions. Do you find this purposeful? Curator: The "disruptions" as you term them are strategically placed elements contributing to the whole; an integrated semiotic structure, in that they serve to create a focal point from an otherwise plain portraiture. The surface texture also evokes a sense of nostalgia and fragility, as seen with its wear around its corners and the cigarette advertisement, as it evokes an object in an antique store. It does not serve as disruption, but rather uniformity by establishing the subject as one that's antique in its very subject matter, one that has passed on with age. Editor: I see your point about how it is all-encompassing and therefore contributes to the visual field and theme of the art card through the implementation of textural usage. Thanks for clarifying your perspective! Curator: And thank you for elucidating your interpretations. It’s the juxtaposition of perspectives which is critical in interpreting artwork of any medium.

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