Emma Mulle, from the Actors and Actresses series (N45, Type 1) for Virginia Brights Cigarettes 1885 - 1891

Curator: This is a fascinating example of late 19th-century advertising art. The piece, "Emma Mulle, from the Actors and Actresses series (N45, Type 1) for Virginia Brights Cigarettes" was created between 1885 and 1891 by Allen & Ginter. Editor: It's striking how the monochrome print almost flattens the figure, making the subject seem oddly timeless, yet decidedly vintage, a very strange paradox, if I may say so myself. Curator: These cards, inserted into cigarette packs, offered a glimpse into the lives, or at least the image, of popular performers of the day. It speaks volumes about celebrity culture and its early commodification. Emma Mulle, while not a household name today, would have resonated with consumers then. Editor: The composition is quite compelling, though. The fence in the midground offers a distinct visual boundary between the viewer and Ms. Mulle, almost implying that we’re observing the sitter without invitation, which suggests an uneasy dichotomy that I can't look past. It almost reminds me of Roland Barthes and his study of semiotics. The artist creates this strange and fascinating world! Curator: That’s an interesting observation. Consider, though, the historical context: These cards were essentially collectibles, functioning as small portraits. The framing highlights not just her physical appearance but also her societal role as a figure of public interest, packaged and consumed. The subtle art of photography in a time without the sophisticated apparatuses of today and without the social media attention! It suggests a powerful idea for the day: the importance of fame, commerce and image. Editor: Yes, and the texture is very simple. Very raw. But that aesthetic seems wholly appropriate and almost postmodern. One could say, a commentary on media's effect, as art is meant to function! The material almost makes the subject blend, become a kind of singular figure within this very constructed framework! Curator: Exactly! The very limitations of the print media contributed to that impact. Before color printing was widespread, such cards presented a controlled, almost dreamlike, vision of beauty and stardom. It truly allows an engaging encounter with a particular era of advertisement, and is such a compelling glimpse into a particular socio-political past! Editor: Indeed! An exercise in contrasts then; from a formal point, to consider historical context, and the reverse!