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Introduction to Chapter The Raw and the Manufactured Brazilian Modernity and National Identity as Projected in International Exhibitions (1862–1922) LIVIA LAZZARO REZENDE A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy in History of Design October 2010 This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement. Abstract This thesis discusses nineteenth- and early twentieth-century representations of Brazil, with em- phasis on Brazilian national identity and the country’s engagement with modernity. It addresses these broad themes by focusing on the national participation in key international exhibitions, from Brazil’s first official appearance at the International Exhibition of 1862 in London to the Brazilian Centennial Exposition held in Rio de Janeiro in 1922. Using a multidisciplinary theoretical and methodological framework, this thesis examines ‘national objects’ – exhibits, exhibition displays, publications and pavilions – shown at home and abroad. It questions what sort of national identity these objects materialised and how they propelled Brazilian experience of modernity. Despite being a multicultural and diverse country, from 1862 to 1922 Brazil was frequently repre- sented by its exhibition commissioners as a homogeneous and cohesive nation. In less than a hun- dred years, Brazil turned from being a liberal but slavery-bound Empire to become an oligarchic Republic. Alongside manumission, urban expansion, and industrialisation, the nation underwent unprecedented political, economic, and cultural changes. These changes, however, were displayed differently at home and abroad. This thesis, thus, is concerned with the cleavages in the national representation from the Empire to the Republic and questions what sort of nation was being repre- sented abroad, and why. This thesis reveals that the Brazilian exhibitionary efforts during this period largely excluded representations of its population, especially of those who did not conform to the modern and civi- lised images attributed to the nation by the state. It also sustains that, despite their commercial and economic imperatives, exhibitions were used by the Brazilian state, during Empire and Republic, for the affirmation and conservation of political power. This thesis is tested in five chapters. The first discusses previous attempts at studying exhibitions in Brazil and abroad, and defines the con- cepts considered in this thesis. The second chapter addresses issues of agency and representation by examining the imperial representation sent to the Centennial International Exhibition in Phila- delphia in 1876. The third chapter focuses on two exhibitions, one Imperial and one Republican, to enquire about ruptures and continuities in the Brazilian representation abroad. This chapter centres on the displays of Brazilian raw materials mounted at the Exposition Universelle of 1867 in Paris, and at the Louisiana Purchase International Exposition in St Louis in 1904. The fourth chapter examines objects that communicated Brazilian ‘civilisation and progress’ at the World's Columbian Exposition in Chicago in 1893. These objects were used by the newly instated republi- can government to manipulate national historical symbols that legitimised their ascension to power and promoted them as the future. The final chapter investigates the Rio exhibition in 1922 as a place where modernisation and modernity were made visible for a Brazilian audience. List of Illustrations 05 Acknowledgments 10 List of Abbreviations 13 Introduction 14 Chapter one Locating Exhibition Studies Part one Locating period, sources and methods 32 Part two Brazilian exhibition studies 36 Part three Exhibition studies outside Brazil 40 Part four Exhibitions as sites for the affirmation of Brazilian modernity 49 Part five Exhibitions as sites for the intensification of nationalism and of internationalism 58 Chapter two A Nation in the Making Part one Networks of representation 64 Part two Brazilian exhibition commissioners at the Centennial International Exhibition, 1876 69 Part three Mobile agents: scientific and propaganda publications 81 Part four Fixed agents: Brazilian orientalism at the Centennial International Exhibition, 1876 94 Chapter three The Raw and the Manufactured Part one Commodities, raw and cooked 113 Part two Encyclopaedism and capitalism at the Exposition Universelle of 1867 119 Part three The National Exhibition in 1866: a display of technical progress 129 Part four ‘Sui Generis’ Brazilian representation in Paris 134 Part five Racialised landscaping at the Louisiana Purchase International Exposition, 1904 153 Part six Preparatory exhibition in 1904: urban reforms and de-tropicalisation 160 Part seven An oligarchic Republic in St Louis 167 Chapter four Changing the National Past Part one Civilization and progress, difficult concepts 195 Part two Preparatory exhibition: conflicting national projects 200 Part three A show of abundance and of republican patriotism in Rio, 1892-1893 207 Part four The republicans set camp at the World’s Columbian Exposition, 1893 215 Part five Displays that changed the past and promised the future 217 Chapter five The Artifice of Nature, the Naturalisation of the State Part one The Exposição in Rio: an inter-war exhibition 252 Part two The ‘constructores da nacionalidade’ 256 Part three Brazilian modernity on display 264 Conclusion 294 Bibliography 302 Appendix I List of Brazilian exhibitions 314 Appendix II Brazilian national exhibitions during the Empire in numbers 316 5 List of Illustrations 1 Group portrait of Thayer Expedition, c1866 76 In: http://hul.harvard.edu/cmtes/ulc/aac/via/desc-MCZ.html [Accessed 23 September 2009] 2 Watercolour of Brazilian flora by José dos Reis Carvalho, c1861 76 In: Comissão Científica do Império,1859-1861, ed. by Lorelay Kury 3 Lithograph depicting artefacts from Ceará, Brazil, c1861 78 In: Comissão Científica do Império,1859-1861, ed. by Lorelay Kury 4 Photograph of the Brazilian enclave, London International Exhibition, 1862 78 In: Maria Inez Turazzi, Poses e trejeitos 5 Drawing of the Brazilian emperor, Pedro II, inaugurating the Centennial International 83 Exhibition, Philadelphia, 1876. In: Frank Leslie’s Historical Register, ed. by Frank Norton 6 Drawing of Brazilian emperor, Pedro II, in plain dress during the Centennial International 83 Exhibition, Philadelphia, 1876. In: Frank Leslie’s Historical Register, ed. by Frank Norton 7 Map of Centennial Grounds, Fairmount Park, Centennial International 97 Exhibition, Philadelphia, 1876. In: Westcott Thompson, Centennial Portfolio 8 Black and white drawing of the Brazilian pavilion designed by Frank Furness, 97 International Exhibition, Philadelphia, 1876. In: Frank Leslie’s Historical Register, ed. by Frank Norton 9 Coloured drawing perspective of the Brazilian pavilion at the Fairmount Park 97 Centennial International Exhibition, Philadelphia, 1876 In: Westcott Thompson, Centennial Portfolio 10 Photographic perspective of the Brazilian enclave designed by Frank Furness 100 inside the Main Building, Centennial International Exhibition, Philadelphia, 1876 In: Bruno Giberti, Designing the Centennial 11 Photographic perspective of the Brazilian enclave designed by Frank Furness 100 inside the Main Building, Centennial International Exhibition, Philadelphia, 1876 In: George E. Thomas, Frank Furness 12 Photograph of the interior of the Brazilian enclave in the Main Building, Centennial 102 International Exhibition, Philadelphia, 1876. In: Bruno Giberti, Designing the Centennial 13 Photograph of the French enclave in the Main Building, Centennial International Exhibition 102 Philadelphia, 1876. In: Bruno Giberti, Designing the Centennial 14 Photograph of the Swedish enclave in the Main Building, Centennial International Exhibition 102 Philadelphia, 1876. In: Bruno Giberti, Designing the Centennial 15 Drawing depicting the Netherlands’ enclave next to the Brazilian one, Centennial International 104 Exhibition, Philadelphia, 1876. In: Bruno Giberti, Designing the Centennial 16 Lithographic drawing depicting architectural Orientalism, Exposition Universelle, Paris, 1867 104 In: Grand album de L’Exposition Universelle, 1867 17 Photograph of the Horticultural Hall, Centennial International Exhibition, Philadelphia, 1876 106 In: Bruno Giberti, Designing the Centennial 18 Photograph of the Champ de Mars exhibition building, Exposition Universelle, Paris, 1867 123 In: http://en.wikipedia.org/wiki/File:Exposition_Universelle_1867.jpg [Accessed 5 May 2009] 19 Lithograph of the Krupp Cannon exhibited by Prussia, Exposition Universelle, Paris, 1867 126 In: Grand album de L’Exposition Universelle, 1867 6 20 Lithograph depicting raw materials exhibited by Prussia, Exposition Universelle, Paris, 1867 126 In: Grand album de L’Exposition Universelle, 1867 21 Lithograph depicting timber from Canada exhibited in the British colonial court 128 Exposition Universelle, Paris, 1867. In: Grand album de L’Exposition Universelle, 1867 22 Photograph of raw materials from Victoria, Australia, Exposition Universelle, Paris, 1867 128 In: http://en.wikipedia.org/wiki/File:Victorian_stand_in_1867.jpg [Accessed 5 May 2009] 23 Photograph of Brazilian manufactures exhibited in the Second National Exhibition
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