Centennial Exhibition, Philadelphia 1876
Opening day of the 1876 Centennial Exhibition in Philadelphia was a spectacular festival of flags, music, and a one-hundred gun salute. After President Grant gave his opening address, the signal was given to unfurl and raise every flag and insignia simultaneously on the entire fairground. A chorus of one thousand began to sing, accompanied by an orchestra and chimes, and the barrage of one hundred rifles symbolized a century of independence for the United States of America (McCabe). This was the first major international world's fair in North America, and while many foreigners argued the United States did not have anything to show, the country shone through displaying its growth into a major industrial power.
Philadelphia, the location of the signing of the Declaration of Independence, was chosen as the site for the fair. Its central location also played in its favor. The Building Committee hired twenty-seven year-old H. J. Schwarzmann as chief engineer. He not only planned the layout of the grounds, but also designed Memorial and Horticultural Halls, the two structures intended to be permanent. The fairgrounds were about two miles north-west from the center of Philadelphia, across the Schuylkill River in a portion of Fairmount Park. One of the world's largest municipal parks, it was devised in 1682 by the founder of Pennsylvania, William Penn. As he was navigating the Schuylkill River, Penn noticed a grand bluff and exclaimed, "What a faire mount!" (Klein). The natural park-like setting, and the proximity to colonial Philadelphia, created a unique atmosphere for the fair.
The two artifacts depicted here are a bird's eye view showing the main buildings of the exhibition, and a map ...
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... system, and public services. On the last day of the Exhibition, John Welsh, the president of the Centennial Board of Finance, said good-bye: "Our work has its place in the annals of the nation. If the memories of it be pleasant to our countrymen, we have done well." (Maass). Looking back at the exhibition's accomplishments, it is fair to say they did well.
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Write an essay discussing the historical insights presented in Erik Larson’s Devil in the White City, being sure to answer the following questions: In what ways does the Chicago World’s Fair of 1893 represent the contrasts and conflicts of the Gilded Age? What is the Fair’s lasting imprint on American society & culture, & what new trends does it signal for the twentieth century?
William H. Thompson, the chairman for the fair's committee on grounds and buildings, established a thirteen-member team to arrange the fairgrounds. Gilbert was assigned to this commission and served as chairman of the committee that devised the site plan. He had a unique knowledge of the grounds as he had recently studied the adjoining grounds for the competition to design nearby Washington University.
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From that point on there’s a digital interactive guide that displays the layout of the museum and location of the exhibits. The museum is divided into quadrants with an elliptical rotunda in the middle. The rotunda is illuminated by natural light from the glass dome with skylights above you. Also when you look up you can see extraordinary symbolic painting on the ceiling. From the center of the rotunda you can go left or right to see the exhibits of Native Americans. For some reason I felt like going in through the left, aside from the fact that the right side was closed for renovations. I headed left into the “Time Exposure” exhibit by the Haudenosaunee Discovery Room. When entering the exhibit it can seem a bit disoriented, but you just have...
Goodwin, Susan and Becky Bradley . "1960-1969." American Cultural History. Lone Star College-Kingwood Library, 1999. Web. 7 Feb. 2011
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
The Metropolitan Museum of Art came about as an idea from Jon Jay in Paris, France in 1866 with the idea of “national institution gallery of art” within the United States. Once this idea was proposed, it was immediately moved forward with his return to the United States. With the help of the Union League Club in NY they began to acquire civic leaders, businessmen, artists, and collectors who aided in the creation of the museum. For over 140 years, the visitors who go here have received everything the mission of the institution states.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
Paradise: Painting in America 1800-1959. Ed. Kynaston McShine. New York: The Museum of Modern Art, 1976.
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