Miss Manthuer, from World's Beauties, Series 2 (N27) for Allen & Ginter Cigarettes by Allen & Ginter

Miss Manthuer, from World's Beauties, Series 2 (N27) for Allen & Ginter Cigarettes 1888

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drawing, coloured-pencil, print

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portrait

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drawing

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coloured-pencil

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print

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impressionism

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portrait reference

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coloured pencil

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19th century

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

Copyright: Public Domain

Curator: Here we have "Miss Manthuer" from the "World's Beauties" series, dating back to 1888. These were collectible cards distributed by Allen & Ginter Cigarettes, quite common during that period. Editor: It has a dreamy quality, doesn't it? That hazy, soft-focus effect, achieved perhaps by coloured pencil, coupled with a somewhat washed out pastel palette... it creates a sort of romantic nostalgia. Curator: Absolutely, and this card is part of a much larger phenomenon of consumer culture. Cigarette companies used these images of idealized beauty, often actresses or socialites, to enhance the appeal of their products, targeting a specific demographic. Editor: Tell me, looking closely, it appears that the woman’s features, particularly around the eyes and lips, have a symbolic meaning...like she is peering out from an unreachable platform of class or rank! What do you think about the semiotics of her direct stare and subtle expression of both fear and courage? Curator: That's an interesting reading. The portrait's purpose, however, I would argue, isn't necessarily about conveying personal depth, but about creating aspirational imagery for the consumer, building associations between the product and notions of sophistication and worldly allure. These weren't so much about the sitter, Miss Manthuer, but rather as social artifacts—commodities in and of themselves. The name itself feels symbolic—but also arbitrary in its construction as "world's beauty." Editor: True, the printing technique, with its subtle variations and textures, brings a unique dimension of reality, which plays cleverly on that same tension between commodity, portrait, symbol and reality. Curator: Well put. It reflects the society's increasing engagement with mass media and its developing understanding of public image in the late 19th century. These cards are reminders that art and advertising have long intertwined in shaping our perceptions and desires. Editor: It's fascinating how analyzing such a seemingly simple image can reveal such rich historical and artistic insights. Curator: Indeed. These cards are, in many ways, a window into the complex cultural landscape of their time, revealing how industries employed aesthetics to promote commerce.

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