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Held in Philadelphia from May 10 through October 10, the 1876 Centennial Exhibition celebrated the 100th anniversary of American independence. Philadelphia hosted 37 nations in five main buildings and 250 additional structures on 285 acres of land. The celebration looked backward to commemorate the progress made over the 100-year period, and it announced to the world that American invention and innovation was on a par with that of our foreign counterparts. Patriotism abounded, as did messages of industrial and commercial prowess that promised a brighter future for all. Over nine million people attended this awesome consumer spectacle, an event that set the tone for a long series of world's fairs yet to come.
Designing the Centennial is an in-depth, behind-the-scenes look at the planning of America's first important world's fair -- the 1876 United States Centennial Exhibition in Philadelphia. The conflicts between the players -- scientists and engineers, planners and politicians, organizers and their audience -- demonstrate wider cultural clashes between a traditional view of things as object lessons and our more current understanding of things as commodities. Bruno Giberti uses the official reports of the U.S. Centennial Commission and photographs of the Centennial Photographic Company, as well as the ephemera of the exhibition and literary accounts in books, magazines, and newspapers to examine the concept of world's fairs, contrasting the 1876 event with other nineteenth- and early twentieth-century exhibitions and related institutions. The author goes beyond previous works on world's fairs by investigating the design process and by considering the nature of display -- what people were looking at and how they were looking.
The life and times of the extraordinary Octavius Catto, and the first civil rights movement in America.
The Unfinished Exhibition, the first comprehensive examination of American art at the Centennial, explains the critical role of visual culture in negotiating memories of the nation’s past that conflicted with the optimism that Exhibition officials promoted. Supporting novel iconographical interpretations with myriad primary source material, author Susanna W. Gold demonstrates how the art galleries and the audiences who visited them addressed the lingering traumas of battle, the uneasy re-unification of North and South, and the persisting racial tensions in the post-Emancipation era.
Excerpt from The Centennial Celebration and International Exhibition of 1876, Their Advantages, Duties, and Honors: Speech of Hon. Joseph R. Hawley, of Connecticut, in the House of Representatives, May 7, 1874 And by subsequent legislation we were commanded to report from time to time, and to make our regular reports to the President, and in a final report present a full exhibit of the result of the centennial celebration and exhibition of Yeu authorized us, you created us, you ordered us to be commissioned by the President. You com manded us to report. You commanded us to devise plans for holding not a national celebration alone, but an international exhibition. We have obeyed you. We have made our plans. We have our plans for the reception and classification of articles. We have our plans for the admission of goods. We have our plans for building. We have our ground selected. We have everything ready but one thing. And we have reported to you from time to time. And now we come again to report, as you have commanded us to report. I do not come here, sir, to pretend that we have ever obtained any snap judgment upon the Government or upon the nation. I do not come here to pretend that you are bound by any law from which you cannot escape. I have come to tell you where we, your officers, com missioned by your order, find ourselves to-day; and I come, gentle men, my friends, to ask you to tell us what we must do. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Timed with the centennial of the Panama-Pacific International Exposition (PPIE) of 1915, Jewel City presents a large and representative selection of artworks from the fair, emphasizing the variety of paintings, sculptures, photographs, and prints that greeted attendees. It is unique in its focus on the works of art that were scattered among the venues of the expositionÑthe most comprehensive art exhibition ever shown on the West Coast. Notably, the PPIE included the first American presentations of Italian Futurism, Austrian Expressionism, and Hungarian avant-garde painting, and there were also major displays of paintings by prominent Americans, especially those working in the Impressionist style. This lavishly illustrated catalogue features works by masters such as Winslow Homer, John Singer Sargent, Claude Monet, Paul CŽzanne, Robert Henri, Edward Weston, Imogen Cunningham, Edvard Munch, Oskar Kokoschka, Umberto Boccioni, and many more. The volume also explores the PPIEÕs distinctive murals program, developments in the art of printmaking, and the legacy of the French Pavilion, which hosted an abundance of works by Auguste Rodin and inspired the founding and architecture of the Legion of Honor museum in San Francisco. A rich and fascinating study of a critical moment in American and European art history, Jewel City is indispensable for understanding both the United StatesÕ and CaliforniaÕs role in the reception of modernism as well as the regionÕs historical place on the international art stage. Published in association with the Fine Arts Museums of San Francisco. Exhibition dates: de Young Museum, San Francisco: October 17, 2015ÐJanuary 10, 2016
With nearly 800 stunning illustrations, experience the most comprehensive contemporary visual tour of the great 1876 Centennial Exhibition in Philadelphia. Built to celebrate the 100th anniversary of The United States, the Great Centennial Exhibition of 1876 will forever be remembered as one of the most successful World's Fairs in American history. This massive collection of images, period accounts, and journalism from the era details every step of the Exhibition with digitally scanned engravings enhanced with modern tools from an oversized master source. Millions of visitors enjoyed the Exhibition in Philadelphia's Fairmount Park and now, modern readers can enjoy what they saw through the eyes and the tools of the world's most talented contemporary artists. Witness the construction of the Fair, the crowds, the opening, the parties, the buildings, the triumphs, and the tragedies. The writer's intent was to "furnish a permanent, truthful, and beautiful chronicle of the Congress of Nations assembled in friendly competition in Philadelphia in 1876," and "to afford a complete history of exhibitive effort in the past, and an artistic and discriminating record of the Great Centennial, the entire work illustrated in the highest style of art, and forming altogether a magnificent Memorial of the Colossal Exhibition in Fairmount Park." -Lavishly illustrated with nearly 800 illustrations drawn for this work -Digital remastered and enhanced from an 1876 oversized print -Brand-new cover design created for this enhanced version -Crisp black and white engravings that show details from the event -Contemporary accounts of the fairgrounds, buildings, and events.
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.
An expansive collection catalogue that offers a multiplicity of fresh perspectives on recent modern and contemporary art acquisitions in The Phillips Collection
Reprint of the original, first published in 1876.