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128 rare, vintage photographs: 200 buildings — 79 of foreign governments, 38 of U.S. states — the original ferris wheel, first midway, Edison's kinetoscope, much more. 128 black-and-white photographs. Captions. Map. Index.
What came to be known as the World s Columbian Exposition was planned to commemorate the 400th anniversary of Christopher Columbus s 1492 landfall in the New World. Chicago beat out New York City, St. Louis, Missouri, and Washington, DC, in its bid as host a coup for the Windy City. The site finally selected for the fair was Jackson Park, originally designed by Frederick Law Olmsted and Calvert Vaux, a marshy area covered with dense, wild vegetation. Daniel H. Burnham and John W. Root were selected as chief architects, creating the famous White City. The fair featured several different thematic areas: the Great Buildings, Foreign Buildings, State Buildings, and the Midway Plaisance, a nearly mile-long area that featured exotic exhibits. The exposition also showcased the world s first Ferris Wheel and introduced fairgoers to new sensations like Cracker Jack, Pabst Beer, and ragtime music. The World s Columbian Exposition, covering 633 acres, opened on May 1, 1893. Admission prices were 50cents for adults, 25cents for children under 12 years of age, and free for children under six. Unfortunately, by 1896, most of the fair s buildings had been removed or destroyed, but this collection takes readers on a tour of the grounds as they looked in 1893."
This handsomely illustrated book is a welcome addition to the history of women during America’s Gilded Age. Wanda M. Corn takes as her topic the grand neo-classical Woman’s Building at the 1893 Columbian Exposition in Chicago, a structure celebrating modern woman’s progress in education, arts, and sciences. Looking closely at the paintings and sculptures women artists made to decorate the structure, including the murals by Mary Cassatt and Mary MacMonnies, Corn uncovers an unspoken but consensual program to visualize a history of the female sex and promote an expansion of modern woman’s opportunities. Beautifully written, with informative sidebars by Annelise K. Madsen and artist biographies by Charlene G. Garfinkle, this volume illuminates the originality of the public images female artists created in 1893 and inserts them into the complex discourse of fin de siècle woman’s politics. The Woman’s Building offered female artists an unprecedented opportunity to create public art and imagine an historical narrative that put women rather than men at its center.
It also tells how the Exposition regulated photography for commercial consumption by licensing concessions and restricting the equipment used by professional and amateur photographers.
Dora and her three sisters are fascinated by the World's Columbian Exposition held in Chicago in 1893.
This exceptional chronicle takes readers on a visual tour of the glittering "white city" that emerged along the swampy south shore of Lake Michigan as a symbol of Chicago's rebirth and pride twenty-two years after the Great Fire. The World's Columbian Exposition, which commemorated the 400th anniversary of Columbus's voyage to America, was held from April to October in 1893. The monumental event welcomed twenty-eight million visitors, covered six hundred acres of land, boasted dozens of architectural wonders, and was home to some sixty-five thousand exhibits from all over the world. From far and wide, people came to experience the splendors of the fair, to witness the magic sparkle of electric lights or ride the world's first Ferris wheel, known as the Eiffel Tower of Chicago. Norman Bolotin and Christine Laing have assembled a dazzling photographic history of the fair. Here are panoramic views of the concourse--replete with waterways and gondolas, the amazing moving sidewalk, masterful landscaping and horticultural splendors--and reproductions of ads, flyers, souvenirs, and keepsakes. Here too are the grand structures erected solely for the fair, from the golden doorway of the Transportation Building to the aquariums and ponds of the Fisheries Building, as well as details such as menu prices, the cost to rent a Kodak camera, and injury and arrest reports from the Columbian Guard. This unique volume tells the story of the World's Columbian Exposition from its conception and construction to the scientific, architectural, and cultural legacies it left behind, inviting readers to imagine what it would have been like to spend a week at the fair.
In the depths of the Great Depression, when America's future seemed bleak, nearly one hundred million people visited expositions celebrating the "century of progress." These fairs fired the national imagination and served as cultural icons on which Americans fixed their hopes for prosperity and power. World of Fairs continues Robert W. Rydell's unique cultural history—begun in his acclaimed All the World's a Fair—this time focusing on the interwar exhibitions. He shows how the ideas of a few—particularly artists, architects, and scientists—were broadcast to millions, proclaiming the arrival of modern America—a new empire of abundance build on old foundations of inequality. Rydell revisits several fairs, highlighting the 1926 Philadelphia Sesquicentennial, the 1931 Paris Colonial Exposition, the 1933-34 Chicago Century of Progress Exposition, the 1935-36 San Diego California Pacific Exposition, the 1936 Dallas Texas Centennial Exposition, the 1937 Cleveland Great Lakes and International Exposition, the 1939-40 San Francisco Golden Gate International Exposition, the 1939-40 New York World's Fair, and the 1958 Brussels Universal Exposition.