Great Northern Diver (Loon), from the Birds of America series (N37) for Allen & Ginter Cigarettes by Allen & Ginter

Great Northern Diver (Loon), from the Birds of America series (N37) for Allen & Ginter Cigarettes 1888

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drawing, print, watercolor

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drawing

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print

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impressionism

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watercolor

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watercolour illustration

Dimensions: Sheet: 2 7/8 x 3 1/4 in. (7.3 x 8.3 cm)

Copyright: Public Domain

Editor: This is "Great Northern Diver (Loon)," a print made in 1888 by Allen & Ginter, from their Birds of America series. It has a certain charm and feels a bit like a Victorian natural history illustration, though it’s also advertising cigarettes. How do you interpret this juxtaposition? Curator: It's fascinating, isn't it? The pairing of natural beauty with commercial interests immediately raises questions about consumption, commodification, and our relationship with the environment. These cigarette cards, intended as collectables, circulated widely, embedding themselves within the cultural consciousness. They aestheticize nature while simultaneously promoting a product with devastating health consequences. We need to consider who was consuming both the cigarettes and the imagery and what power dynamics were at play. How does this advertisement speak to notions of American identity and manifest destiny, particularly the domination and control over both natural resources and certain populations? Editor: I hadn’t thought of it that way, but it makes sense. The very act of naming it the “Great Northern Diver” sounds so colonial, so claiming. Do you think the impressionistic style softens the corporate message at all, or does it reinforce it? Curator: The style contributes to its appeal and accessibility. It masks the complexities of the ethical issues beneath a veneer of artistic merit. These images presented a romanticized version of nature to an urbanizing populace, perhaps alleviating anxieties about environmental impact while normalizing harmful consumption habits. We must always consider how art functions within systems of power. Editor: So it’s almost like visual propaganda, normalizing both the destruction of nature and nicotine addiction. Thanks for shedding some light on those dynamics. Curator: Exactly! Recognizing the encoded politics embedded within seemingly benign imagery is vital to a more nuanced understanding of visual culture.

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