Edward Enoch "Jersey" Bakely, Pitcher, Cleveland, from the Old Judge series (N172) for Old Judge Cigarettes by Goodwin & Company

Edward Enoch "Jersey" Bakely, Pitcher, Cleveland, from the Old Judge series (N172) for Old Judge Cigarettes 1888

drawing, print, photography, albumen-print

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portrait

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drawing

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toned paper

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photo restoration

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print

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old engraving style

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baseball

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figuration

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photography

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19th century

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men

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genre-painting

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albumen-print

Curator: Let's turn our attention to "Edward Enoch 'Jersey' Bakely, Pitcher, Cleveland," an albumen print from 1888, part of the Old Judge Cigarettes series, produced by Goodwin & Company. Editor: There’s a stark, weathered quality to this piece; the sepia tones evoke a real sense of history and, oddly, loneliness, despite its commercial origins. The composition, however, is compelling with its focus on the lone figure. Curator: Note the artist's careful manipulation of light and shadow; how it sculpts Bakely's form, emphasizing the curve of his arm and the set of his jaw. The high contrast areas create strong diagonals, adding dynamic tension. It’s beautifully rendered for what amounts to a cigarette card. Editor: Yes, beyond the formal elements, Bakely embodies the ideals of that era – discipline, strength. He almost adopts the persona of the "everyman" elevated by this association with a budding, increasingly popular sport and ubiquitous tobacco advertising. Look at how those values became intertwined. Curator: It is a particularly good example of how visual representation and brand recognition intertwined in the late 19th century. The rigid posing perhaps speaks to that controlled association – it is calculated. Note too how his clothing hangs off him to showcase that this is an amateur. Editor: I read it also as something less cynical; it could well suggest the vulnerability inherent in fame, a celebrity carefully framed. Bakely may be elevated, but the picture implies fragility, transient. It's also such a quintessentially American image. Curator: Intriguing. To return to the formal, it’s curious to see how elements like the flat plane behind the player focus the viewer’s eye onto the player’s stance and its effect on compositional symmetry. The overall composition is relatively centralized and static and could reference earlier traditions of portraiture. Editor: So, a piece about advertising, fame, national identity… layered into a humble object. I see the baseball player transformed into a potent, enduring cultural icon of ambition. Curator: The genius, then, lies in the convergence of design elements to sell not just the image of a player, but something of the national identity along the way. Editor: I leave now with the echo of our cultural history and wonder, I think I now better understand the ongoing symbolism contained within the sport, even within baseball cards today.

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