The International Exhibition

In this accessible and attractive book, beautiful illustrations accompany an involving contextualization of life in Ireland's Cork City at the beginning of the 20th century. Focusing on the "International Exhibition of Manufactures, Arts, Products and Industries," a monumental event which opened its doors in the summer of 1902 and which Cork City has not paid witness to before or since, local historians Daniel Breen and Tom Spalding provide an enlightening account of an Irish city during a time when civic and cultural life was celebrated in the spirit of the age, and not obscured by the divisive politics that severely marked the preceding century and following decade. The book provides a picture of Edwardian Cork, going beyond reportage to instill a real sense of the age. The International Exhibition was emblematic of this remarkably cooperative period, seeing individuals of strongly opposing political backgrounds working in unison and interacting with a huge array of international exhibitors from as far away as Russia, China, and Turkey. As an exhibition devoted to art and industry, the Cork International Exhibition acted as a focal point that expanded upon contemporary art, architecture, music, sports, and more. Filled with colorful illustrations of archival material, this elegant book presents a complete picture of the astonishing scale and vibrancy of this immense occasion in Ireland's social history. Exhibitions of this kind were showcased in major global cities, such as London, Paris, Glasgow, St. Louis, and Chicago. The fact that it came to a burgeoning city such as Cork, ahead of Belfast or Dublin, was of historic importance within Ireland.

This book argues for the importance of bringing women and gender more directly into the dynamic field of exposition studies. Reclaiming women for the history of world fairs (1876-1937), it also seeks to introduce new voices into these studies, dialoguing across disciplinary and national historiographies. From the outset, women participated not only as spectators, but also as artists, writers, educators, artisans and workers, without figuring among the organizers of international exhibitions until the 20th century. Their presence became more pointedly acknowledged as feminist movements developed within the Western World and specific spaces dedicated to women’s achievements emerged. International exhibitions emerged as showcases of "modernity" and "progress," but also as windows onto the foreign, the different, the unexpected and the spectacular. As public rituals of celebration, they transposed national ceremonies and protests onto an international stage. For spectators, exhibitions brought the world home; for organizers, the entire world was a fair. Women were actors and writers of the fair narrative, although acknowledgment of their contribution was uneven and often ephemeral. Uncovering such silence highlights how gendered the triumphant history of modernity was, and reveals the ways women as a category engaged with modern life within that quintessential modern space—the world fair.

The International Exhibition of 1862 was a global showcase of art, science, industry, and culture. This beautifully illustrated guide offers readers a unique glimpse into the myriad wonders of this historic event. Filled with lavish full-color illustrations and detailed descriptions of the exhibits, this book is a treasure trove of information about the world as it was in the mid-19th century. From the latest technological innovations to the most breathtaking works of art, this book is a fascinating record of a pivotal moment in human history. A must-read for anyone interested in the history of exhibitions and world's fairs. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Beyond the world fairs in London, Paris or Chicago, numerous smaller, ambitious exhibitions took place in provincial cities and towns worldwide. This volume takes a novel look at the exhibitionary cultures of the period 1840-1940. By examining the motivations, scope, and impact of lesser-known exhibitions in, for example, Australia, Japan, Brazil, as well as a number of European countries, the volume opens up new angles in the way the global phenomenon of a great exhibition can be examined through the prism of the regional.

Reprint of the original, first published in 1876.

In the depths of the Great Depression, when America's future seemed bleak, nearly one hundred million people visited expositions celebrating the "century of progress." These fairs fired the national imagination and served as cultural icons on which Americans fixed their hopes for prosperity and power. World of Fairs continues Robert W. Rydell's unique cultural history—begun in his acclaimed All the World's a Fair—this time focusing on the interwar exhibitions. He shows how the ideas of a few—particularly artists, architects, and scientists—were broadcast to millions, proclaiming the arrival of modern America—a new empire of abundance build on old foundations of inequality. Rydell revisits several fairs, highlighting the 1926 Philadelphia Sesquicentennial, the 1931 Paris Colonial Exposition, the 1933-34 Chicago Century of Progress Exposition, the 1935-36 San Diego California Pacific Exposition, the 1936 Dallas Texas Centennial Exposition, the 1937 Cleveland Great Lakes and International Exposition, the 1939-40 San Francisco Golden Gate International Exposition, the 1939-40 New York World's Fair, and the 1958 Brussels Universal Exposition.