Marcus Elmore "Fido" Baldwin, Pitcher, Cleveland, from the Old Judge series (N172) for Old Judge Cigarettes 1887
drawing, print, daguerreotype, photography
portrait
drawing
pictorialism
old engraving style
daguerreotype
baseball
photography
men
athlete
Dimensions sheet: 2 11/16 x 1 3/8 in. (6.9 x 3.5 cm)
Curator: Here we have a piece titled "Marcus Elmore 'Fido' Baldwin, Pitcher, Cleveland," an 1887 work produced as part of the Old Judge series for Old Judge Cigarettes. Editor: There's an undeniable sense of melancholy hanging over this piece. The sepia tones and slightly blurred edges evoke a feeling of a bygone era, a stillness despite capturing a figure in motion. Curator: Formally, note how the subject is centrally composed. The artist used careful tonal gradations to emphasize the form of Baldwin and create a hierarchy within the frame. Also, notice the graphic elements and how they add dimension. Editor: Absolutely, but beyond that, I'm struck by the context of this image within the world of late 19th-century commercialism. Baseball, still in its nascent stages, becomes intertwined with tobacco advertising, speaking volumes about early consumer culture and the commodification of athletes. Curator: Precisely! One cannot ignore how this object exploits its pictorial qualities. The photograph’s composition directs the gaze, and each area invites contemplation, fulfilling the goals for an object from Goodwin & Company. Editor: Right, but the photo is staged in a very controlled way, stripping him of individuality to turn him into a symbol. These promotional cards were targeted at a white male demographic, further marginalizing other groups. It’s essential to consider this type of historical positioning. Curator: A sharp observation. It is a reminder that photographic compositions from the time are rarely neutral and invite continued questioning about historical norms. Editor: Exactly! By viewing this card as more than a mere representation, we are encouraged to contemplate its role in the larger structure that promoted consumption through exclusionary representation. Curator: Indeed. It’s an exercise in appreciating form, while also acknowledging how such structure is affected by broader narratives of capitalism and consumer culture. Editor: It is a look into the history of our evolving cultural and social standards!
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