Corinne, from the Actors and Actresses series (N45, Type 8) for Virginia Brights Cigarettes by Allen & Ginter

Corinne, from the Actors and Actresses series (N45, Type 8) for Virginia Brights Cigarettes 1885 - 1891

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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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photography

Dimensions Sheet: 2 5/8 x 1 1/2 in. (6.6 x 3.8 cm)

Editor: This is “Corinne” from the Actors and Actresses series for Virginia Brights Cigarettes, dating from between 1885 and 1891, by Allen & Ginter. It seems so...staged. The pose is quite theatrical, but the background feels rather flat. What do you see in this portrait? Curator: Let's observe the structural elements. The figure's placement, almost bisecting the vertical plane, creates an immediate division. Her confident stance, juxtaposed against the soft-focus background, offers an intriguing contrast. How does the symmetry or asymmetry influence your perception? Editor: I notice the asymmetry now that you mention it - her pose is strong, and draws the eye. Yet it's an uneasy strength. What would you say about the subject's relation to the background in relation to one another? Curator: Consider how the hazy, almost dreamlike background serves less as a setting and more as a compositional element. It prevents a deep illusionistic space, instead drawing the viewer back to the surface of the image and the subject that dominates it. How does that limit the relationship? Editor: Good question...maybe the focus is instead meant to emphasize the textures - the ruffles, the sheen of the outfit - so there really isn’t one other than highlighting her in a world that may be fading away. I almost missed the fact it was part of a series of cigarette cards. Does knowing that it was commercial art change how you see the visual structure of it? Curator: Intriguing. The commodification does not negate the formal strategies at play. It still operates on principles of balance, contrast, and line, and must consider it a separate structural exercise with the added burden of trying to encourage customers. Editor: Right. The composition is clearly driven by its function as advertising. Well, I’ve learned to appreciate how the picture plane in a formal sense operates here! Thanks! Curator: And I the reminder of function within a composition. Thank you.

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