President's House in Washington, from the General Government and State Capitol Buildings series (N14) for Allen & Ginter Cigarettes Brands by Allen & Ginter

President's House in Washington, from the General Government and State Capitol Buildings series (N14) for Allen & Ginter Cigarettes Brands 1889

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drawing, coloured-pencil, print

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drawing

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coloured-pencil

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print

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landscape

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coloured pencil

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cityscape

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academic-art

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

Copyright: Public Domain

Curator: This is "President's House in Washington," one in a series of trade cards created around 1889 by Allen & Ginter, printed using colored pencils. It now resides here at the Metropolitan Museum of Art. Editor: Well, my initial response is quite interesting; the drawing exudes a formal stiffness yet possesses a delicate fragility, mostly evoked by the drawing technique and soft colors. Curator: Yes, consider these were distributed as promotional items with cigarettes, connecting high ideals of governance with mass consumer culture. Allen & Ginter employed numerous artists and printers, turning the creation of these cards into factory production of imagery. Editor: Interesting. If we analyze solely the artistic composition, it evokes notions of stability and order. Note how the columns create strong verticals, and the horizontal lines define the architectural features. It presents a very clear, stable structure. Curator: True. But let’s not ignore the material reality. These weren't designed as high art; they were tools of commerce, meant to encourage brand loyalty amongst smokers. Think about the cultural impact of mass production of images! It democratized art consumption. Editor: Perhaps. But also consider how the artist utilized line and form to construct a space of symbolic importance. The scale, perspective...they communicate power. Curator: But at what cost? These cards glossed over labor practices and the social realities tied to the tobacco industry. It’s easy to get caught up in the aesthetics and miss the less visible elements of production. Editor: Still, even through that filter, one can’t help appreciate the almost dreamlike softness that the artist evokes here. Look at the shadows, the gentle treatment of trees; there’s a distinct attempt to ennoble the subject. Curator: Agreed. I appreciate having the space to look deeper, as opposed to immediately accepting the given image as truth. Editor: Indeed, considering its formal devices helps in appreciating art’s overall purpose.

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