Nineteenth-century National Exhibitions

In 1897 Russia had its debut at the Venice International Art Exhibition, with a group show commissioned by the State Academy of Fine Arts in Saint Petersburg and curated by
Ilya Repin. Based on Russian and Italian unpublished archival documentation and press reviews, the article sheds light on the organization of the art show, while also addressing
its critical and popular reception, mostly characterized by common places and stereotypes derived from Russian literature. In turn, such a critical response fitted the rhetoric of a “national character” promoted by early Biennale exhibitions and its collateral events, from public acquisitions to art criticism awards.

Con una mostra collettiva realizzata su commissione dell’Accademia Imperiale di Belle Arti di San Pietroburgo e a cura di Il’ja Repin, la Russia debuttò all’Esposizione Internazionale d’Arte di Venezia alla sua seconda edizione (1897). Alla luce di documenti inediti e di recensioni critiche di provenienza sia russa che italiana, l’articolo prende in esame le alterne fasi di realizzazione della rassegna e la sua accoglienza da parte di critica e pubblico. Ne emerge un quadro ricettivo in cui l’orizzonte d’attesa nei confronti dell’arte russa è in larga parte condizionato da precognizioni e stereotipi di natura letteraria, orientati verso l’individuazione di quel “carattere nazionale”, a cui si ispirava il “concorso delle nazioni” delle prime Biennali e le sue attività collaterali, dalle acquisizioni pubbliche ai premi alla critica

Alexander C.T. Geppert: Città brevi: storia, storiografia e teoria delle pratiche espositive europee, 1851-2000

Andrea Giuntini: La mobilità in mostra: i trasporti e le comunicazioni nelle esposizioni della seconda rivoluzione industriale

Paolo Brenni: Dal Crystal Palace al Palais de l’Optique: la scienza alle esposizioni universali, 1851-1900

Angela Schwarz: Transfers transatlantici tra le esposizioni universali,1851-1940

Luigi Tomassini: Immagini delle esposizioni universali nelle grandi riviste illustrate europee del XIX secolo

Ursula Lehmkuhl: Una mietitrice come catalizzatore: la Great Exhibition del 1851 e la costruzione sociale della relazione speciale anglo-americana

Anna Pellegrino: “Il gran dimenticato”: lavoro, tecnologia e progresso nelle relazioni degli “operai” fiorentini all’Esposizione di Milano del 1906

Vanessa Ogle: La colonizzazione del tempo: rappresentazioni delle colonie francesi alle esposizioni universali di Parigi del 1889 e del 1900

Maddalena Carli: Ri/produrre l’Africa romana: i padiglioni italiani all’Exposition coloniale internationale, Paris 1931

Andreas R. Hofmann: Utopie nazionali: grandi esposizioni nell’Europa centro-orientale, 1891-1929

Tammy Lau: Le promesse e i rischi di Internet nel regno delle esposizioni universali"

Proust has shown little interest in the decorative arts of his time, but his work bears the mark of the "submarine style" distinctive of Art nouveau. The low bookshelves with glass panes in the Grand Hôtel room at Balbec ― the symbol of À la Recherche’s unity, according to Georges Poulet in Proustian Space ― prove to be authentic witnesses of “modern style”. But what does “modern style” actually mean? À la Recherche includes five occurrences of the expression that could lead to misunderstanding. Contrary to a preconceived idea, it is not the English name for Art nouveau. This French coined anglicism refers to the international revival of the decorative arts at the beginning of the twentieth century, a fascinating but disturbing blend of aesthetics and social ideas. Proust detected at once and discreetly highlighted the cosmopolitan and "rastaquouère" (so to speak "métèque") inspiration of an ephemeral artistic movement contemporary with the Dreyfus affair. Enriched with an abundant and entirely original iconography, full of new discoveries and identifications, Rastaquarium brings back to life an epoch of which the novelist caught the essence. For the first time the whole question of decorative arts in À la recherche is fully tackled in all its ramifications, in a fascinating instance of the network of connections at the heart of Proust’s system.

Proust n’a manifesté que bien peu d’intérêt pour les arts décoratifs de son temps, mais son œuvre ponctuée d’aquariums est marquée par le «style sous-marin» caractéristique de l’Art nouveau. Les «bibliothèques vitrées» de la chambre de Balbec ― dans lesquelles Georges Poulet voyait le symbole de l’unité de l’œuvre ― se révèlent d’authentiques témoins du «modern style». Mais qu’est-ce que le «modern style»? L’expression, qui revient cinq fois dans À la Recherche du temps perdu, n’avait jamais vraiment été élucidée. Contrairement à une idée reçue, ce n’est en rien le nom anglais de l’Art nouveau. Cet anglicisme bien français désigne un renouveau international des arts décoratifs qui, mêlant esthétique et idées sociales, fascine et inquiète… Proust a parfaitement perçu et discrètement mis en valeur l’inspiration cosmopolite et «rastaquouère» d’un courant artistique dont le bref épanouissement coïncide avec les années de l’affaire Dreyfus. Enrichi d’une vaste iconographie, entièrement originale, fourmillant de trouvailles et d’identifications nouvelles, Rastaquarium fait revivre une époque dont l’écrivain a su capter l’essentiel. Toujours abordée de façon fragmentaire, la question des arts décoratifs dans la Recherche n’avait jamais été traitée dans son ensemble, seule manière de saisir les réseaux de correspondances si chers à Proust.


Table of Contents

Note sur l’iconographie – Remerciements – Abréviations

Rastaquarium

Qu’est-ce que l’Art « nouveau » ?

Le « modern style » n’est pas un style

Naissance d’une expression

Le mobilier des Proust

Le monde de Liberty

Contre Ruskin

1905 : « Sur la lecture »

La Femme inconnue de Lille et le Printemps par « Brown »

Le moment Maple

Bing !

Le « modern style » dans la Recherche

Les bibliothèques vitrées de Balbec

De la référence anglaise à la référence bavaroise : le Salon d’Automne de 1910

Style « sous-marin »

Le Royaume de Neptune ou la civilisation de l’aquarium

Le « modern style », agent de l’étranger

L’esthétique dreyfusarde

Siegfried n’est pas Samuel

Le règne de l’impur

Le style franco-sémitique

Une nouvelle croisade

Dreyfusards avant Dreyfus

Style rastaquouère

Bibliographie - Index nominum - Table des illustrations

Nell'Ottocento, il "secolo della modernità", fondamentali strumenti per la diffusione dell'innovazione e la promozione dello sviluppo economico sono le esposizioni industriali e universali. In Italia, dalla fine del XIX secolo, si susseguono rassegne di prodotti agricoli, artigianali e poi industriali. Bisogna distinguere tra una fase pre-unitaria da un lato, durante la quale hanno luogo fiere locali e regionali, e le prime esposizioni dell'Italia unita dall'altro: tra queste ultime, emerge l'Esposizione industriale nazionale di Milano tenutasi nel 1881, per le sue caratteristiche di sostanziale novità.

The paper examines Art section at All-Russia Exhibition in Moscow in 1882 as a context for the development of the idea of national art museum in St. Pe- tersburg and promotion of this idea to Alexander III. The analysis of design, topography and ideology of the exposition as well as intellectual and sociocultural background of this event reveals the key role that Art section played in the emperor’s turn towards the national narrative. The article focuses on the personality of the curator of the show, M. P. Botkin, revealing him as a mediator between the educated society and the monarchy. That let the author contribute to the studying of the aspect of agency within the concept of na- tionalizing empire.

В статье анализируется художественный отдел Всероссийской выставки 1882 г., сыгравшего важную роль в развитии идеи музея национального искусства в Петербурге и представлении этой идеи Александру III. Анализ устройства, топографии и идеологии отдела, а также интеллектуального и социокультурного контекста выставки выявляют значение экспозиции в обращении императора к национальному нарративу. Особое внимание к фигуре куратора выставки М. П. Боткину, своего рода посреднику между образованным обществом и монархией, позволяет автору внести свой вклад в разработку мало исследованного аспекта агентности в отношении модели национализирующейся империи.

Il contributo della Scuola Normale Superiore al progetto Archivio informatizzato delle testimonianze di cultura artistica e letteraria in fondi manoscritti tra Ottocento e Novecento: da Cavalcaselle a Brandi 1 , si incentra su una figura di spicco della storiografia e della critica artistica italiana del Novecento: Cesare Brandi.

In this paper the first sacred art exhibitions organized on the Italian soil are illustrated, from the 1870 Roman Exposition to the 1900 Bologna Exhibition of ancient diocesan art. During the last three decades of the 19th century, following the Capture of Rome, a triumphal sequence of public sacred art exhibitions took place. Such events were generated by different circumstances, they could celebrate festivities connected to a pope, eucharistic national congresses, centenaries of a miraculous event or anniversaries of saints, be conceived as small charity events or part of imposing national exhibitions. Such a variety of events is placed in the socio-political context of the growing conflict between the unified Italian State and the Catholic Church and analyzed through the nature and meaning of the material exhibited, the individuals that shaped the cultural profile of each show, their impact on tourism and on studies in the field.

ÖZ: Fuar veya sergi olarak isimlendirilen ticari, sanayi, zirai, askeri ve kültürel metaların tanıtımı amacıyla düzenlenen organizasyonları kadim zamanlara kadar götürmek mümkündür. Sanayileşmenin ve ticari faaliyetlerin gelişerek yoğunlaştığı XVIII. yüzyılın ikinci yarısından sonra ise bu organizasyonlar uluslararası bir tanıtım unsuru haline gelmiştir. Sanayi devrimi sonrası Avrupa Devletleri'nde üretimin artması, yeni pazar ve hammadde ihtiyacını da doğurmuştu. Bu ihtiyacın giderilebilmesi için, sanayi ürünlerinin ve üretim araçlarının tanıtılması amacı ile uluslararası sergiler düzenlenmeye başlanmıştır. Ayrıca bu sergilerle ülkelerin bilim, sanayi, teknoloji ve tarım alanındaki gelişme ve yeniliklerinin herkese duyurulması amaçlanmıştır. XIX. yüzyılın ikinci yarısından itibaren Osmanlı Devleti uluslararası sergilere yoğun bir şekilde ilgi göstermiş, hükümran olduğu büyük coğrafyanın her biri kendine has özellikler taşıyan ürünlerini fuarlara göndererek tüm dünyaya tanıtmayı hedeflemiştir. Bu makalede dünyanın dört bir yanındaki sanayi ürünlerinden sanat eserlerine, mimari objelerden savaş aletlerine kadar farklı kategorideki birçok eşyayı ilgilileriyle buluşturan 1867 Paris Sergisi ve dönemin Fransız imparatoru III. Napolyon'un daveti üzerine Sultan Abdülaziz'in bizzat sergiyi ziyareti ele alınacaktır. Arşiv kaynakları ve birinci elden kaynaklarla Osmanlı Devleti'nin Paris'te sergilenen ürünler ve Sultan Abdülaziz'in sergiye olan ilgisi bu makalenin ana konusunu oluşturmaktadır.

The aim of this article is to study the living ethnological exhibitions. The main feature of these multiform varieties of public show, which became widespread in late-nineteenth and early-twentieth century Europe and the United States, was the live presence of individuals who were considered “primitive”. Whilst these native peoples sometimes gave demonstrations of their skills or produced manufactures for the audience, more often their role was simply as exhibits, to display their bodies and gestures, their different and singular condition. In this article, the three main forms of modern ethnic show (commercial, colonial and missionary) will be presented, together with a warning about the inadequacy of categorising all such spectacles under the label of “human zoos”, a term which has become common in both academic and media circles in recent years.

Imperial expositions held in fin-de-siècle London, Paris and Berlin were knots in a world-wide web. Conceptualizing exhibitions as meta-media, Fleeting Cities undertakes a transdisciplinary investigation into how modernity was created and displayed, consumed and disputed within the European metropolis. Focusing on five such expositions – the Berliner Gewerbeausstellung (1896), the fifth Parisian Exposition Universelle (1900), the Franco-British Exhibition in London (1908), the British Empire Exhibition at Wembley (1924/25), and the Exposition Coloniale Internationale in Paris (1931) – this award-winning book examines their specific aims and aspirations, evolving forms and execution, and the public debates they engendered. Who shaped these mega-events, how were exposition venues inscribed into the urban fabric, what legacies did they bequeath? Taken as dense textures stretched over time, these expositions undergo both a close hermeneutic reading and broad spatial analysis. Fleeting Cities weaves extensive empirical research with underlying theoretical concerns, investigating their individual meanings in a new form of transnational network analysis.

El objetivo del artículo es ofrecer unas propuestas de análisis e interpretación sobre un fenómeno complejo y multiforme, que alcanzó una dimensión realmente notable en la Europa de las últimas décadas del siglo XIX y los comienzos del XX y que también tuvo cierta repercusión en España. Me refiero a las exhibiciones etnológicas vivas, esto es, a los eventos que contaron con la forzada participación de seres humanos en calidad de elementos animados del despliegue expositivo. En el presente trabajo voy a estudiar únicamente las exhibiciones que se vinculan con tales contextos de dominación, en concreto aquellas que tienen una relación directa con el colonialismo o con la presentación pública de individuos catalogados como exóticos bajo la cobertura de un presunto interés etnológico

The musical contributions at the two international exhibitions in Scotland, at Edinburgh and Glasgow in 1886 and 1888 were detailed in two books written by Robert Marr. Both exhibitions featured many musical events and groups which were engaged to entertain and educate the thousands of people that streamed through the doors each day. From Marr's copious descriptions about the wider musical performers and events I have extracted the details of the visiting and competing brass bands, using his notes, and have included roughly contemporary pictures of those that are available. In addition to bands, orchestras and choirs performing concerts throughout the Exhibitions, there were a series of contests, including two at each exhibition for brass bands – one limited to Scottish bands, the other open to all. The contest results in Marr's books have been expanded using contemporary newspaper reports.

As part of the celebrations of the IV Centenary of the discovery of America, Colombia participated in the Exposición Histórico-Americana de Madrid in 1892, as well as the Chicago World’s Columbian Exposition in 1893. On both occasions, the focus was on pre-Hispanic objects. Through the glorification of an indigenous past, the organizers of the exhibitions sought to provide the country with an ‘antiquity’ of its own, comparable to the ancient civilizations of Peru and Mexico, and to project the image of a modern nation through the academic treatment of such vestiges of the past. However, in an environment marked by Hispanism and conservatism, this kind of ‘scientific Indianism’ did not imply the integration of indigenous cultures into the national narrative. During preparations for the Parisian Exposition Universelle in 1900, the government planned to represent the nation through a national pavilion adorned with huge pre-Columbian figures, thereby indicating a more inclusive nationalization of the indigenous past. However, this turn towards a new form of Indianism was hindered by war and financial crisis, and the organizers were forced to abandon their plan. It was not until 1929, after a long period of recovery, that the process of combining Hispanism with Indianism finally culminated in the construction of the national pavilion at the Exposición Ibero-Americana in Seville.

Durante los últimos años parece haber crecido entre los antro pólogos españoles el interés por conocer sus raíces, por historiar su propia disciplina. Mayor tradición tienen los estudios sobre los cronistas de Indias, pero esa parte de la historia de la antropolo gía a la que me refiero es la que comienza -o al menos se mani fiesta con mayor claridad-en la segunda mitad del siglo pasado.

Siecle Europe, Basingstoke: Palgrave Macmillan, 2010, 398 S. Rezensiert von Klaus Dittrich, S°' eoul Alexander C.T. Gepperts Monographie über imperiale Ausstellungen um die Jahr hundertwende basiert auf einer am Euro-päischen Hochschulinstitut in Florenz entstandenen Dissertation. Einen guten Teil seines konzeptionellen Ansatzes sowie der Forschungsergebnisse hat der Autor bereits in Aufsätzen in englischer, deut scher und italienischer Sprache veröffentli cht. Forschungen zum Ausstellungswesen erlauben es, so Geppert, Struktur-und Er eignisgeschichte optimal zu kombinieren. Dieser Ansatz ermöglicht es auf der einen Seite, den Wettbewerb der Austragungs orte und -nationen, die Ausstellungen als singuläre events zu untersuchen, und sie auf der anderen Seite als in ihren Struk turen stabile Medien wahrzunehmen. Der Autor "liest" fünf Ausstellungen in Berlin, Paris und London, welche ihm als Kno tenpunkte des exhibitionary complex gel ten. Geppert's Studie beginnt mit einem Kapi tel über die Berliner Gewerbeausstellung von 1896. Er startet mit der Frage, warum es in Deutschland bis zur Expo Hannover im Jahre 2000 keine Weltausstellung ge geben hat. Er rekonstruiert die Debatte um eine deutsche Weltausstellung, die von den späten l 870er Jahren bis in das erste Jahrzehnt des zwanzigsten Jahrhunderts geführt wurde. Entscheidende Triebkraft dieser Debatte waren Berliner Kaufleute. Das Ansinnen dieser Gruppe wurde jedoch von entscheidenden politischen Instanzen geblockt, allen voran Reichskanzler Bis marck und Kaiser Wilhelm II. Als Grün de für das Nichtgelingen führt Geppert neben einer allgemeinen Ausstellungsmü� digkeit die strategische Beteiligung an ausländischen Ausstellungen sowie einen Minderwertigkeitskomplex gegenüber Pa ris an. Kläglicher Rest der hochtrabenden Pläne war die Gewerbeausstellung von 1896, die Geppert in ihrer Bedeutung für Deutschland beschreibt. Aber war es wirk lich nur ein kläglicher Rest? Auf zeitgenös sische Stellungnahmen aufbauend, kommt Geppert zu dem Schluss, dass die Ausstel lung aus lokaler oder nationaler Perspekrive durchaus einen Erfolg darstellte, wenn sie auch nicht mit den großen internationalen Ausstellungen ihrer Zeit mithalten konnte. Einen besonderen Schwerpunkt stellen die Kolonialausstellung sowie die Areale Kairo undAlt-Berlin dar. Diese Ausstellungsteile, indem sie dem Ausstellungspublikum qua si Reisen in Raum und Zeit ermöglichten, stellten einen bewussten Kontrast zu den explizit modernen Teilen der Ausstellung dar. Geppert schreibt ein Kapitel über eine Gewerbeausstellung, ohne jedoch den ei gentlichen Gewerbeanteil oder die Insze nierung des Bürgertums, welche der Kaiser so fürchtete, ausreichend zu würdigen. In dem er das Hauptindustriegebäude nicht beschreibt, dringr Geppert nicht zum Kern der Ausstellung vor. Somit wird auch die Kontrastfunktion, welche die exotisie renden Ausstellungsteile zweifelsfrei boten, nicht wirklich herausgearbeitet. Die Pariser Exposition universelle von 1900 ist die einzige große Weltausstellung des Samples. Als eine der größten Ausstel lungen überhaupt stellte sie einen endgül tigen Wendepunkt hin zur Kommerzia lisierung und Unterhaltung da, obgleich entsprechende Tendenzen schon vorher zu T ag e traten. Geppert ordnet die Exposition von 1900 in die Pariser Ausstellungstradi tion seit dem Ende des 18. Jahrhunderts· ein. Dem Champ de Mars als städtische Freifläche, auf der sich die Ausstellungen des 19. Jahrhunderts im wesentlichen konzentrierten und auf dem aus Anlass der Weltausstellung von 1889 der Eiffelturm errichtet wurde, kommt dabei eine beson-Buchbesprechungen l 117 dere Rolle zu. Das Abhalten einer Ausstel lung im Jahre 1900 war nicht unumstritten, wurde doch das Medium Universalausstel lung zunehmend von verschiedenen Seiten in Frage gestellt. Auch dezentralisierende Bestrebungen in Frankreich wirkten gegen sie. Als Bilanz des Jahrhunderts war die Ausstellung rückwärtsgewandt. Die Frage des Clou ist für die Pariser Ausstellung von 1900 trotzdem nicht leicht zu beantwor ten, Geppert spricht von "polynuklearen" Attraktionen. Dazu gehörte das trottoir roulant, ein erhöht verlaufender sich be wegender Weg. Die Rue des nations war eine entlang der Seine angelegre Straße mit Pavillons der teilnehmenden Länder in national typ ischen oder extravagantem Stil. Die Sektion Vieux Paris bildete die der Neugestaltung von Paris im Zweiten Kaiserreich gewichenen Viertel nach. Der Palais d' electricite fesselte die Besucher durch seine Lichteffekte. Eine Kolonial ausstellung war auch vorhanden. Zudem wurde im Zuge der Weltausstellung auch die erste Linie der Pariser Metro eröffnet. Die Londoner Franco-British Exhibiti on von 1908 war eine von privater Seite organisierte Ausstellung. Den Handel zu beleben war das Hauptanliegen der Or ganisatoren. Das Prinzip nationaler Sym metrie sorgte für einen ausgewogenen Anteil britischer und französischer Sekti onen. Es ging also auch darum, die durch die Entente cordiale offiziell geschlossene Freundschaft zwischen den beiden Staaten zu zelebrieren. Geppert stellt vor allem die Rolle des Hauptorganisatoren Imre Kiralfy heraus, den er aufgrund seiner transnati onalen Vernetzung und Involvierung in mehrere Ausstellungsprojekte als "super man in the exhibition world" tituliert. Kiralfy hatte über die Jahre eine Reihe von

In the Exposición Iberoamericana –the Ibero-American Exposition– of Seville, in 1929-1930, an interesting colonial exhibition was organized that has been hitherto unstudied. It was arranged in two sections: the Spanish protectorate of Morocco and Spanish Guinea. The present paper describes both colonial pavilions and the products and collections displayed there, and it compares this exposition to contemporary similar events. We will analyse the two different exhibitory models adopted by the Spanish administration in regard to each colonial territory, models which also include the “exhibition” of Guinean and Moroccan natives. Finally, we will see how the exposition suggests the limitations of each of these processes of colonization as well as the impossibility of articulating a new model of Hispanic-African imperialism.

Öz Sanayi devrimi sonrası Avrupa Devletleri'nde üretimin artması, yeni pazar ve hammadde ihtiyacını da beraberinde getirmiştir. Bu ihtiyacın giderilebil-mesi için sanayi ürünlerinin ve üretim araçlarının tanıtılması amacı ile ulus-lararası sergiler düzenlenmeye başlanmıştır. Ayrıca bu sergilerle ülkelerin bilim, sanayi, teknoloji ve tarım alanındaki gelişme ve yeniliklerinin herke-se duyurulması amaçlanmıştır. Öncülüğünü Fransa ve İngiltere'nin yaptı-ğı sanayi sergileri, ilgili ülkelerin sömürgelerinden gelen hammadde ve bu hammaddelerden üretilen sanayi ürünlerinin pazarlanmasına yönelik olarak yapılmıştır. Başlangıçta sanayi ve ticari amaçla başlatılan sergiler, Avrupa ile Avrupa dışında bulunan devletlerin kültür ve yerel sanatları arasında, etki-leşime de sebep olmuştur. 18. yüzyılın sonlarından itibaren Fransa'da ulusal düzeyde ve 19. yüzyılın ilk yarısında çeşitli Avrupa ülkelerinde düzenlenen benzer olayların doruk noktası olan Londra sergisi ilk uluslararası sergi ola-rak kayda geçmiştir. 1851 yılında Londra'da açılan sergi bundan sonra dü-zenlenen diğer uluslararası sergilere de ilham kaynağı olmuştur.

Ludwig Ross: Archival Documents on his Museum Policy and the Protection of Antiquities in the Cyclades

Fourteen official letters written by Ross and his associates when he was in charge of antiquities in the Cyclades from 1834 to 1836, published here for the first time, testify to his activities in the area. The letters are preserved in the archives of the museums of Syros and Mykonos. Ross ran an organized antiquities service the like of which was not seen again until the 20th century. In his capacity as regional ephor and later as head of the antiquities service, Ross sailed to the islands in summer 1835 and published his scholarly observations in REISEN AUF DEN GRIECHISCHEN INSELN DES ÄGÄISCHEN MEERES I (1840). Even more important is his contribution to the removal of sculptures and inscriptions to the safety of local museums that he helped create on Syros and Tenos, the preservation of archaeological sites and the struggle against the illicit antiquities trade.

""In 1867 it was organized in Barcelona the first of major retrospective exhibitions conducted in the city during the nineteenth century. The exhibition was an initiative of the Academy of Fine Arts, and supposed the involvement, both at organizational level and in the loan of works, of a set of very important personalities of cultural life in Barcelona. From the standpoint of the history of collecting, it was the first time that takes visibility a group of people who had remained anonymous until then, including some artists and intellectuals linked with the Romantic Movement and, therefore, interested in the artistic works of the medieval period.

The article will delve into this last aspect, and particularly in those lenders who lend paintings of the gothic period, a kind of artistic production that was not yet fully introduced in the local circles of collecting due to an accumulation of factors that will be analyzed appropriately. The presence of gothic paintings in the exhibition was not too relevant in the totality of works on display, but viewed together; show that certain people had been interested in them, a prelude of later episodes featured by collectors as Maties Muntadas. Finally, the text calls for this exhibition as the first time that the gothic painting was exhibited publicly in Catalonia, at the same time when intellectuals became interested in it as an object of study.""

The theme of the paper is the tension in the inter-relations between national culture and life as led in the municipalities. This issue is examined, taking the presentation of the city Cracow at the General Provincial Exhibition of 1894 as an example, analysing both national rhetoric and local government in practice. Particular attention is paid to the efforts of the Cracow municipal administration to present a city dedicated to preserving tradition as a modern living space. The analysis of municipal presentation will be supplemented by an examination of the ceremonies which accompanied the Exhibition (visit of the Crown Prince) and events (meeting of the Municipal Conference). In the final section the author endeavours to assess the significance of the Exhibition for the process of modernisation in Galicia. The paper closes with a brief comparison with the “Exhibition of Municipalities”, during the 1929 General Provincial Exhibition held in Posen, in which the essential differences between the Lemberg and the Posen presentations with regard to the sense of national belonging and the level of civilisation are brought to light.

"This article reflects on the inclusion of human beings in the colonial representations of the great exhibitions that Portugal organised or took part in during the first half of the twentieth century. It analyses the role played by the natives (from the Portuguese colonies), as well as the way they were represented and treated, based on various documents and interviews and on the study of the exhibition creation process. These exhibitions revealed some underlying tensions. On the one hand, they provided evidence of the differences between the ‘civilised’ and the ‘uncivilised’, of the diversity of ‘races’ and of their places in a hierarchy of civilisation. On the other, they extolled the way colonised peoples adopted Portuguese models. The ways those human beings have asserted their existence, under the power of the exhibition’s organisers, provides a means to understand how they forged and assumed their identities in a context of rules".

The essay analyzes the geopolitical significance of the First International Exhibition of Modern Decorative Art in Turin in 1902. He pays special attention to the Italian role in relation to
European nations, commenting on the Italian desire to achieve a new centrality in the Old Continent by embracing the most modern cultural and artistic movement, focusing on the union of art and industry, and projecting a powerful image of economic growth and social development.  The article  elaborates on the history of the function of stained-glass windows in Italy in secular architecture, in particular private dwellings during the modern era, primarily the early twentieth century. The renewed culture of glass populated apartments and private homes with decorations and art objects sponsored by Louis Comfort Tiffany in Turin, popularized by Vittorio Pica, and later produced by Giovanni Beltrami in Milan.
The essay further discusses the cultural and political transformations in the early twentieth century as small and medium-sized stained-glass enterprises run by families evolved into commercial firms competing in a national market, e.g., Galileo Chini in Florence and Cesare Picchiarini in collaboration with Duilio Cambellotti in Rome. These stained-glass firms
paved the way for the production of decorative art with a new artistic quality.

Parce qu’elle occupe une place centrale et matricielle dans la culture d'une époque, l’exposition universelle est un sujet prisé par les journalistes et les romanciers. En 1867, 1878, 1889 et 1900, Albert Robida est le témoin actif de quatre de ces événements, qu’il dessine, commente et transpose. L’influence des discours et des représentations des expositions parisiennes permet d’observer comment son œuvre conjecturale s’élabore en contexte et sur divers supports. Loin de se limiter à la trilogie formée par Le Vingtième Siècle, La Guerre au vingtième siècle et La Vie électrique, l’anticipation est chez lui inscrite dans une pratique médiatique, graphique et éditoriale du panorama, en constant dialogue avec un intertexte d’actualité susceptible de mettre en perspective et en tension le futur de la modernité et du progrès.

В статье показано, что концепция русского художественного отдела парижской Всемирной выставки 1867 года была подчинена задачам национальной репрезентации, и это стало первым в своем роде и очень важным опытом для российской практики художественных экспозиций. Рассмотрен разный вклад разных живописных жанров – прежде всего исторического и бытового – в формирование представлений о России на этой выставке. Проведен сравнительный контент-анализ этой живописной секции и нескольких других ближайших по времени экспозиций картин.

The author focuses on the link that can be documented between some museums and some
international exhibitions in the second half of the 19th century and the first one of the 20th. We
study specifically museums that were created from collections or materials exhibited in certain
world’s fairs or even in national exhibitions. Our areas of interest are ethnology, colonialism,
Christian missions, and folklore.

GLA VNOME GRADU TROJEDNE KRALJEVINE. U ZAGREBU t864. BRZOTl.SKOY A. JAKIĆA. PAPIR llRVATSKE TVOR.'HCE t; CHMlDT I .MEl"NJEJlA NA lUECJ. PRI~DGOVOR. U sjednici trgovačko-obrtničke komore, držanoj u Zagrebu dne 12. kolovoza 1862. izviestio je tajn ik gosp. J. F. Devide o tom, ~to je zamietio kod svjetske izložbe tl Lonđollu; te zaidjući svoje izviešće ovako: "Velika druga svjetska izložba II Londouu dOl'r~it će sc do skora, IL narodi vratili s golemoga toga natjeca1išta ratarab obrtnikah i umjetnikah više manje povoljnim uspjehom. Trojedna kraljevina nćest\'ovašc tamo takodjer te postiže razmjerno povoljan 'uspjeh, jer od 34 izložitelja iz kraljevine Dalmacije, Hrvatske i Slavonije odlikovllno bje njih I I kolajnami, II njih 10 pobl'alom, dakle lIcielom 62% od svih iz1ožiteljah. Učešće trojedne kraljevine li lL Loj svjetskoj izložbi bijMie nn suki naćin mnogo manje nego li ~to bi bilo biti imalo i bit i moglo. Tomu su krivi razui uzroci a. osobito i ona okolnost što slabo cienimo svoj u snagu. P rivikli bo od tivi h stranah "iki, da smo siromašni ineznatuiizim što se za vrieme krvavog rata na nas znalnijc obaziru -morao je narod izgubiti uzdaju II sama sebe, :~ to tim riše, što mu do sada za podignuće gospodarst"I!., Irgovine i obrI nosti živo potrebita sredstva ili nikaha' ili nedovolj no pružana bijahu, Uza sve to ipak, kako je znano, nije trojedna kraljevina tako posve siromašna plodinami i t'vorinami, da nebi nz mudru porabu obilnih sriedstvah, kojimi se može POSI~lžiti; viekn odgovarajućim budjenjem driem ljuće čiloće njenih stnllo\,llikah, i pametnim pobudjivanjem natjecanja, u današnje \'tieme nnždna svakom pod hvatu; da nebi, rekob, stigla tlo vrhullca savršenosti II limc dotjer ala do toga, du može zauzeti ono mjesLo medju naprednimi llarodi Enope, koje liju ide po divnQ>j nnravi zemlje njezine i dUŠCnlom daru stanovnikah njezinih; kojimi svojstvi pače je pozvano, da ga s otih i "iše iuih r8Zlogah čas prije zasjedne, Kad je za dobe franeuzkoga preVl'ata malaksaln. trgovina i obrtnost u Fr<lncuzkoj, z3misli vlada oži"jiti ju obl'tnom izložbom iZllo l-ice, a ova nova po· misao i iz,-cde)la bje već godine 1798; te od to doba mnogobrojnih Imta i ponOVljena, a tako razgranjena, da sada nema gotovo u Evropi reemljc, gdje se nebi kad~to slič n e izložbe priredjivale. 1 trojedna kraljevlllQ. imajlajc. gdješto pomanje izložbe gO~l)odurskih Jllodillllh i to s dohrim uspiehom ; al SI e do ovoga časa nci m ađjaše obćenitc izložbe SI'ih

Barcelona, ciudad de grandes músicos y dilatada tradición creativa
e interpretativa, se encontraba, a finales del siglo XIX, con
un panorama de calidad muy irregular. No obstante, el periodo
comprendido entre las dos Exposiciones Internacionales de 1888
y 1929 favoreció que se sentaran los cimientos de una gran renovación,
que todavía se deja notar en la actualidad. La primera Exposición,
organizada en el transformado parque de la Ciutadella de
Barcelona, marcó un antes y un después en la concepción musical
de la ciudad. El desarrollo de un conjunto de concursos puso de
mani#esto la pobreza musical que había en la ciudad alarmando,
en cierto modo, a los profesionales relacionados con la ejecución
filarmónica.
El objetivo del presente texto es dar cuenta de la revolución que
supuso este momento, repasando las iniciativas musicales protagonistas a la vez que poniendo de relieve la singularidad de un ciclo de música francesa programado en 1917, mientras la Europa musical padecía los efectos de la Gran Guerra.

The rather negative consequences that the Great War of 1914 had for the Catholic Church’s missionary zeal, together with the pressure against the bases of the Catholic dogma exerted from a number of natural and social sciences (such as Ethnology), compelled the Vatican to react in ways designed to reinforce the Catholic missions and bring the Church back to the spiritual and material preeminence that it had enjoyed up to fifty years ago. The Missionary Exposition of 1925 was one of the most important instances of this strategy. In addition, the Exposition made it possible for the Church to compensate for the propaganda failures that it had had until then, as a result of its unfrequent and restricted participation in international expositions and world’s fairs. The author analyzes in detail this exposition of 1925, the context surrounding it and the presumably scientific, ethnological strategy cum missionary activity that the Church designed and set to work in this epochal event.

The 1911 Scottish Exhibition of National History, Art and Industry in Glasgow was one of the most successful events of its kind, attracting over nine million visits and resulting in pro¢ts which were used to endow a chair in Scottish History in the University of Glasgow. Alongside a popular entertainment section, it included a reconstruction of a Highland village and a Palace of History which housed thousands of items borrowed from public and private collections throughout Scotland. A number of historical aspects were highlighted, notably the importance of Protestant Christianity, the 1707 Acts of Union, commerce, aristocracy and great men, whereas the history of the Highlands, Catholicism, the working class and Scotland's relationships with Ireland were ignored. The in£uence of Sir Walter Scott was profound, with the 'Great Literary Period' of the late eighteenth and early nineteenth centuries providing the main narrative and marking the end of a distinctive Scottish history. The topics selected for the Exhibition are shown to relate to the political concerns of its organisers, a group of Conservatives who hoped to demonstrate that the importance of Scottish history lay in establishing Scotland as an equal partner with England in the development of a Protestant British Empire.