Costa Rica, from Flags of All Nations, Series 2 (N10) for Allen & Ginter Cigarettes Brands 1890

Editor: This small watercolor print from 1890, "Costa Rica, from Flags of All Nations," published by Allen & Ginter, has an almost postcard-like quality. The flag dominates the composition, set against this idyllic landscape. What can you tell me about the context surrounding this piece? Curator: Well, it’s more than just a pretty picture. It’s part of a larger series of cigarette cards. This situates the image within a complex network of commerce, nationalism, and colonialism. Editor: Cigarette cards? How so? Curator: Think about it: these cards, meant to stiffen cigarette packs, were also powerful tools for disseminating ideas about different nations. Allen & Ginter, and others, presented these romanticized versions of foreign lands, influencing perceptions, right? Editor: Definitely, a kind of visual shorthand that flattens cultural identities. Is it fair to say that it’s a reflection of America’s growing global ambition at the time? Curator: Absolutely. It coincided with the rise of American imperialism and a desire to exert influence abroad. This seemingly benign image contributes to constructing a narrative of American exceptionalism and dominance by showcasing its interest in "all nations", wouldn’t you say? How does this representation differ from say, a Costa Rican representation of itself? Editor: I see what you mean, there's a real power dynamic at play. Thanks, I had no idea of all the layers behind what looks like a simple flag. Curator: Precisely. By interrogating these seemingly innocuous images, we can reveal the subtle but powerful ways that art – even commercial art – reinforces dominant ideologies. Editor: It definitely gives me a new way to contextualize this little image.