Pug, from the Dogs series (N47) for Virginia Brights Cigarettes 1887 - 1891

Editor: This is "Pug, from the Dogs series," made between 1887 and 1891 by Allen & Ginter. It's a print, a kind of photographic drawing used for cigarette cards. The dog has such a dignified air, almost like a little human. What do you see when you look at this? Curator: What strikes me is the dog's deliberate staging within the context of commercial advertising. These cards were inserted into cigarette packs, a blatant appeal to consumers. But why dogs? How does the representation of this particular breed reflect societal values of the time? It speaks to the rise of companion animals as status symbols among the burgeoning middle class, doesn’t it? Editor: That's interesting; I hadn't considered the consumerism angle. I was focused on the "cute" factor. Curator: Precisely, but "cute" is itself a carefully constructed aesthetic. Think about the ways in which sentimental images of animals have historically been used to reinforce specific social hierarchies. Is there an attempt here to blur class lines by associating the supposed refinement of cigarette smoking with a breed considered "pedigreed?" And, given the Virginia Brights branding, are there any post-Civil War racial undertones to be aware of? Editor: I guess the image isn't just a picture of a pug, but a reflection of society. Curator: Exactly. The image becomes a complex site of cultural meaning, a pawn of economic interests, and possibly a contributor to racial stereotypes of that period. What else can it be "selling" us? Editor: It gives you a lot to think about. Thank you! Curator: My pleasure. Analyzing these hidden dimensions allows us to move past just appreciating aesthetics, into understanding art's powerful role within culture and systems.