James J. "Sun" Daly, Left Field, Minneapolis, from the Old Judge series (N172) for Old Judge Cigarettes by Goodwin & Company

James J. "Sun" Daly, Left Field, Minneapolis, from the Old Judge series (N172) for Old Judge Cigarettes 1889

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drawing, print, photography

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portrait

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drawing

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print

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baseball

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photography

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men

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athlete

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realism

Dimensions: sheet: 2 11/16 x 1 3/8 in. (6.9 x 3.5 cm)

Copyright: Public Domain

Editor: So, here we have "James J. 'Sun' Daly, Left Field, Minneapolis," a print from 1889 by Goodwin & Company, part of the "Old Judge Cigarettes" series. It's striking how this image of an athlete becomes a marketing tool. What's your interpretation of this work, especially considering its origins? Curator: This piece, seemingly a straightforward portrait of a baseball player, operates within a complex network of late 19th-century socio-economic forces. The commercialization of baseball was just beginning, intertwined with the rise of mass media and advertising. The figure of Daly isn’t just a portrait; he’s a symbol, commodified to sell cigarettes. How does this interplay of sport, commerce, and representation reflect the anxieties and aspirations of the time? Editor: That's a powerful point. It’s like his athletic prowess is being exploited. How did these kinds of images contribute to ideas around masculinity and success back then? Curator: Exactly! These images idealized a certain kind of masculinity – strong, athletic, and implicitly, a consumer of products like Old Judge Cigarettes. But it’s crucial to recognize this was a very specific, exclusionary vision of masculinity that often left out non-white, working-class individuals. How does that knowledge shift your understanding? Editor: It completely reframes it. What I initially saw as a simple baseball card now reveals so much about the construction of identity and the power of advertising in shaping social norms. Curator: Precisely. And understanding these underlying power structures is key to unlocking the deeper meaning of even the most seemingly innocuous artwork. We must ask who is included and, more importantly, who is excluded, in these visual narratives. Editor: This has really made me reconsider how deeply intertwined art, commerce, and social identity really are! Thank you. Curator: It is only by these explorations that we can learn new ideas!

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