Expanding Nationalisms at World’s Fairs Expanding Nationalisms at World’s Fairs: Identity, Diversity, and Exchange, 1851–1915 introduces the subject of international exhibitions to art and design historians and a wider audience as a resource for understanding the broad and varied political meanings of design during a period of rapid industrialization, developing nationalism, imperial- ism, expanding trade and the emergence of a consumer society. Its chapters, written by both established and emerging scholars, are global in scope, and demonstrate specific networks of communication and exchange among designers, manufacturers, markets and nations on the modern world stage from the second half of the nineteenth century into the beginning of the twentieth. Within the overarching theme of nationalism and internationalism as revealed at world’s fairs, the book’s essays engage a more complex understanding of ideas of competition and community in an age of emergent industrial capitalism, and investigate the nuances, contradictions and marginalized voices that lie beneath the surface of unity, progress, and global expansion. David Raizman is Distinguished University Professor of Art and Art History in the Westphal College of Media Arts & Design at Drexel University in Philadelphia. Ethan Robey is Assistant Professor of the History of Decorative Arts and Design at Parsons School of Design, and Associate Director of the MA Program in the History of Design and Curatorial Study run by Parsons and Cooper Hewitt, Smithsonian Design Museum. Routledge Research in Art History https://www.routledge.com/Routledge-Research-in-Art-History/book-series/RRAH Routledge Research in Art History is our home for the latest scholarship in the field of art history. The series publishes research monographs and edited collections, covering areas including art history, theory, and visual culture. These high-level books focus on art and artists from around the world and from a multitude of time periods. By making these studies available to the worldwide academic community, the series aims to promote quality art history research. The Gamin de Paris in Nineteenth-Century Visual Culture Delacroix, Hugo, and the French Social Imaginary Marilyn R. Brown Antebellum American Pendant Paintings New Ways of Looking Wendy N.E. Ikemoto Expanding Nationalisms at World’s Fairs Identity, Diversity, and Exchange, 1851–1915 Edited by David Raizman and Ethan Robey William Hunter and his Eighteenth-Century Cultural Worlds The Anatomist and the Fine Arts Helen McCormack The Agency of Things in Medieval and Early Modern Art Materials, Power and Manipulation Edited by Grażyna Jurkowlaniec, Ika Matyjaszkiewicz, Zuzanna Sarnecka National Identity and Nineteenth-Century Franco-Belgian Sculpture Jana Wijnsouw Expanding Nationalisms at World’s Fairs Identity, Diversity, and Exchange, 1851–1915 Edited by David Raizman and Ethan Robey First published 2018 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 selection and editorial matter, David Raizman and Ethan Robey; individual chapters, the contributors The right of David Raizman and Ethan Robey to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record for this book has been requested ISBN: 978-1-138-50175-1 (hbk) ISBN: 978-1-315-15874-7 (ebk) Typeset in Sabon by codeMantra Contents List of illustrations vii List of contributors xi Introduction: communities real and imagined: world’s fairs and political meanings 1 DAvID RAIzMAN AND ETHAN ROBEY 1 East meets West: re-presenting the Arab-Islamic world at the nineteenth-century world’s fairs 15 DEBRA HANSON 2 From London to Paris (via Cairo): the world expositions and the making of a modern architect, 1862–1867 33 CHRISTIAN A. HEDRICk 3 The Belgian reception of Italy at the 1885 Antwerp World Exhibition: converging artistic, economic, and political strategies on display 50 DANIELA N. PRINA 4 A Danish spectacle: balancing national interests at the 1888 Nordic Exhibition of Industry, Agriculture, and Art in Copenhagen 71 JøRN GULDBERG 5 A neoclassical translation: the Hôôden at the 1893 World’s Columbian Exposition 92 HANNAH L. SIGUR 6 Paris, 1900: the Musée Centennal du Mobilier et de la Décoration and the formulation of a nineteenth-century national design identity 109 ANCA I. LASC vi Contents 7 “Our country has never been as popular as it is now!”: Finland at the 1900 Exposition Universelle 130 BART PUSHAW 8 “A revelation of grace and pride”: cultural memory and international aspiration in early twentieth-century Hungarian design 147 REBECCA HOUzE 9 When the local is the global: case studies in early twentieth-century Chinese exposition projects 173 SUSAN R. FERNSEBNER 10 The 1910 Centenary Exhibition in Argentina, Chile, and Uruguay: manufacturing fine art and cultural diplomacy in South America 195 M. ELIzABETH BOONE Bibliography 215 Index 239 Illustrations I.1 Prince Albert Memorial, kensington Gardens, London (Photograph date: ca. 1876-ca. 1885) 5 I.2 Rosenborg Mineral Spring Water Establishment Display, 1888 Copenhagen Exhibition of Art, Industry, and Agriculture 9 1.1 “The Opening Ceremony,” lithograph 17 1.2 “Tunis I: The Arab Tent,” lithograph 20 1.3 “Tunis II,” lithograph 21 1.4 “A Peep Into Tunis, or a Walk thro’ Rag Fair,” lithograph 22 1.5 Woven silk sash, Tunisia, c.1850 23 1.6 Alfred Chapon, “Bardo,” Pavilion of the Bey of Tunis, Exposition Universelle 1867, Paris, sectional print 26 2.1 Carl von Diebitsch, Mausoleum for Sulayman Pasha, Cairo, Egypt. c.1863 37 2.2 Carl von Diebitsch, Mausoleum for Sulayman Pasha, Cairo, Egypt. c.1863. zinc dome 38 2.3 Carl von Diebitsch, Mausoleum for Sulayman Pasha, Cairo, Egypt. c.1863. Detail of iron fretwork at entry 38 2.4 Carl von Diebitsch, Moorish Kiosk, Exterior view, 1867 40 2.5 Carl von Diebitsch, Moorish Kiosk, Interior, 1867 40 2.6 Plan of the 1867 Universal Exhibition. The kiosk is in the upper left section (circled) 41 2.7 “Le Secteur prussien.” 42 2.8 “Prusse et Allemagne du Nord – Galerie des Matières Premières.” 42 2.9 “Exposition Prussienne – Pavilion Oriental.” 44 2.10 “Pavillon Impérial au Champ-de-Mars.” 44 3.1 The exhibition building erected in the Cinquantenaire Park for the 1880 Jubilee Exhibition 52 3.2 Alfredo de Andrade, Borgo Medievale built for the 1884 Exhibition in Turin 55 3.3 Gédéon Bourdiau, Monumental entrance gate at Antwerp’s Exhibition, 1885 57 3.4 Camillo Riccio, The Italian section at Antwerp’s 1885 Exhibition 58 3.5 Jewellery by Giacinto Melillo exhibited in Antwerp, 1885 59 3.6 Ceramic by Pio Fabri exhibited in Antwerp, 1885 61 3.7 Ceramic by Cantagalli exhibited in Antwerp, 1885 62 viii Illustrations 3.8 Ceramic by Richard exhibited in Antwerp, 1885 62 3.9 “Feuilles de chène,” a model used at the Saint Lucas Schools in Ghent, 1882 64 3.10 A page from the article “La prima esposizione internazionale di arte decorativa moderna.” 66 4.1 Souvenir lithograph of the exhibition grounds 72 4.2 Entrance of the main building 77 4.3 The central hall in the main building with the section of applied art, seen from the entrance 78 4.4 The display of a selection of ceramic works from P. Ipsen’s Widow’s Terracotta Factory, Copenhagen 80 4.5a vilhelm koch, The king’s vase. P. Ipsen’s Widow’s Terracotta Factory 82 4.5b Suzette Skovgaard, (Association of Decorators), The troll who sucks out the lake 82 4.6 The display of ceramics from The Royal Porcelain Factory 83 4.7 The Copenhagen company Ludvigsen & Hermann’s exhibition of water traps and sanitary objects 84 4.8 The hall of machines with a row of steam engines from competing firms 86 4.9 The working dairy with the newest equipment 87 5.1 kuru Masamichi, The Hôôden, World’s Columbian International Exposition, 1893 92 5.2 view of the north end of the Wooded Island, showing the Hôôden, the Women’s Building, the Illinois Building, the Government Building, and the circular wing of the Fisheries Building. Starks W. Lewis, Amateur, Brooklyn 93 5.3 Interior of the Left Wing (“Fujiwara Epoch”); Library in Right Wing of the Hôôden (top); Tea Room in the Right Wing of the Hôôden (“Ashikaga Epoch”) 94 5.4 “Central Hall”: “Jodan-no-ma” (bottom); kon-no-ma (top left), Sho-Sai (top right) 94 5.5 Japan’s dedication 98 5.6 Byōdō-in Phoenix Hall, Uji, kyoto prefecture, Japan, 1059 100 5.7 Hashimoto Gahô, Hô-ô-(Phoenixes) at Play 101 5.8 Guze kannon (7th Century) 104 6.1 Exposition de 1900: Paris en 1400, la Cour des Miracles. 110 6.2 “L’Esplanade – vue Prise de l’Hôtel des Invalides.” 111 6.3 “Esplanade des Invalides – Les Palais de la Décoration et du Mobilier, MM. Larche et Nachon, architectes; M. Esquié architecte.” 112 6.4 “Musée Centennal du Mobilier et de la Décoration.” 113 6.5 “La veille du Sacre, 1804.” 115 6.6 “Le village Suisse. – Chalet d’Effretikon – Maisons de Berne.” 117 6.7 “Pièce Diréctoire.” 122 6.8 “Salon Empire.” 123 6.9 “Chambre à Coucher de Talma.” 123 6.10 “Salon Napoléon III.” 124 Illustrations ix 7.1 The artists Albert Edelfelt, Albert Gebhard, Axel Gallén (Akseli Gallen-kallela) and Emil Wikström in Paris, Spring 1900 132 7.2 The Finnish Pavilion at the 1900 Exposition Universelle, Paris. Photograph, 275 × 208 mm 134 7.3 Interior of the Finnish Pavilion and its construction team at the 1900 Exposition Universelle, Paris. Photograph, 208 × 272 mm 136 7.4 Emil Halonen, wooden relief sculptures in the Finnish Pavilion, with Sámi and reindeer in the center 138 7.5 Beda Stjernschantz, The Glassblowers, (1894), oil on canvas, 175.5 × 179.5 cm 141 8.1 Hungarian installation of decorative arts at the 1900 Exposition Universelle, Paris. Designed by zoltán Bálint and Lajos Jámbor 150 8.2 Ödön Faragó, Dining room, exhibited at the 1900 Exposition Universelle, Paris, Hungarian section 151 8.3 Hungarian installation of decorative arts at the Turin 1902 First International Exhibition of Modern Decorative Art. Designed by Pál Horti 153 8.4 Cover of Magyar Iparművészet 3 (1900). Illustrated by Pál Horti 154 8.5 Hungarian installation of decorative arts at the St. Louis 1904 Louisiana Purchase Exposition. Designed by Pál Horti. view of wooden towers 156 8.6 Hungarian installation of decorative arts at the St. Louis 1904 Louisiana Purchase Exposition. Designed by Pál Horti. view of mural by Aladár körösfői kriesch 157 8.7 Hungarian installation of decorative arts at the St. Louis 1904 Louisiana Purchase Exposition. Designed by Pál Horti. view of folk embroideries 158 8.8 “Mission style” furniture including piano with “Indian motifs.” Designed by Pál Horti for Shop of the Crafters, 1907 160 8.9 Hungarian installation of decorative arts at the Milan 1906 International Exhibition. Designed by Géza Maróti 162 8.10 Géza Maroti, Music room, exhibited at the Milan 1906 International Exhibition 164 9.1 Chinese Exhibit, Palace of Liberal Arts. St. Louis 175 9.2 “Curious Chinese Devices in Manufactures.” China’s displays at the Palace of Liberal Arts included models of “a mill for the manufacture of bean-oil and bean-cake,” as well as “sedan-chairs and chair coolies; [a] salt-factory, wind-mill of lateens sails and vermicelli factory in the order named.” 177 9.3 vice-Director Xiang Ruikun (Left) and Director Chen Qi (Right) of the Nanyang “Encouraging Industry” Exposition of 1910 178 9.4 Officials, soldiers, and, on the far right, female attendants gathered under the flags of diverse nations in a new kind of public ceremony under the auspices of the Qing dynasty for opening day ceremonies at the Nanyang Exposition 180 9.5 From zhili Province’s exhibition displays, manufacture samples provided by the Beiyang Ironworks factory 181