Iberoamericana, XXI, 77 (2021), 71-95 6/7/21 12:22 - - - order order

in Chicago in 1893. in Chicago in 1893. World’s World’s

; Brazil; First Republic; Design History; History; Design Republic; First ; Brazil; in Chicago, 1893 in Chicago, World’s Columbian Exposition World’s

World’s Columbian Exposition World’s . Chicago’s Chicago’s Four years after seizing power, the Republicans who founded the United States of of States who founded the United the Republicans after seizing power, years Four Apenas quatro anos após depor a Monarquia, os Republicanos que fundaram os que fundaram os os Republicanos anos após depor a Monarquia, quatro Apenas

ezende R ivia Keywords: Resumo: Abstract: | | Columbian Exposition Columbian DOI: 10.18441/ibam.21.2021.77.71-95 DOI: biana de Chicago em 1893. Ainda sob a ameaça de uma insurreição monarquista e em vias e em vias monarquista biana de Chicago em 1893. Ainda sob a ameaça de uma insurreição o reescreverem Republicanos se utilizaram da exposição para de afirmar sua autoridade, os World’s Fairs, and the competing political and economic interests behind this show of show behind this and the competing political and economic interests Fairs, World’s and progress Arts. Fine | Colom Universal para a Exposição montaram uma representação do Brasil Estados Unidos Under the threat of a monarchist insurrection and in order to affirm their authority, the Re the to affirm their authority, in order and insurrection of a monarchist the threat Under ascertainand past imperial their Brazilian the re-write to exhibition this employed publicans this article discusses exhibition dis on an analysis of design history, Relying political future. pyramid past, the installation of a golden I framed as a bygone D. Pedro plays –carriage from for desire Republicans’ the revealed Fine Arts that of and a selection regional power, to flaunt at representation republican to unpack this first as points of access a particular social order– ORCID iD: http://orcid.org/0000-0001-5415-0416 ORCID iD: | at the mounted a representation Brazil L Australia Wales, University of New South [email protected] O Futuro do Passado: A Representação da Primeira da Primeira A Representação Passado: O Futuro do Exposição Universal República Brasileira na 1893 de Chicago, The Representation of the First First of the The Representation Republic in the Brazilian The Future of the Past: Future of The 04-Revista Iberoamericana 77_D-3_Rezende.indd 71 04-Revista Iberoamericana 77_D-3_Rezende.indd 72 72 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE Republicana emExposições Universais eosmúltiplosinteresses políticoseeconômicospor ordemcerta social–comochaves deacessoparacompreender essaprimeirarepresentação dourada queexaltava poderregional, epinturasquerevelavam odesejorepublicano poruma tencente aDPedro Ienquadradacomoumpassadoremoto, ainstalaçãodeumapirâmide imperialper deexposição–uma carruagem ótica dahistóriadodesign,analisamostruários passado imperialbrasileiro eprojetar seufuturo político. Opresente escritosoba artigo, trás damostrade 1 scholars andhistorical actors alike. power thatmakesInternational Exhibitions and World’s Fairs soattractive to current one canrecognise forpolitical theintricateinterplaybetween designandthestruggle nation’s goldencolonialpast. instatedRepublicimperial period(1822-1889)asastrategytolinkthenewly tothe the pyramidjumptoeyes ofhistorianswhocanread theomissionofBrazilian itability inthecountry. Lessreadily obvious tocontemporaries,thedatesinscribedon Brazilian Republicans, butalsoevidencedtointernationalentrepreneurs miningprof with thepositivist belief inmaterial evidence andscientific progress prevalent among contributed totheworldcapital.Thisvisiblemeasurement of wealth notonlyaligned ard, measurement thepyramidfunctionedasatrue ofthewealth Minas Gerais had period. Since in1893mostinternationalcurrencies were valued by thegoldstand towering objectbroadcasting foralltoseethatMinas Gerais wasBrazil’s could have goneunnoticedifitwasnotforthedesignofitsmaindisplay, ashiningand section ‘sandwiched between themineraldisplaysofIdaho andCalifornia’ (Buel shipped from across theglobetobefittedintoever shrinkingspaces.The Brazilian desired by exhibitionorganiserswasmadeirrelevant by thesheernumberofexhibits the fairgoer’s attention. As with World’s Fairs ofthiskind,anysenseorder originally profitable years of Brazil’s colonialpast.Thepyramidalshapesucceededinattracting ue ofthegoldextractedinstateMinas Gerais between 1720and1820,themost pyramid (fig. 1)(Buel aninscription boastedthe 1894). weight and On itssurface val Brazil, for there it was, glittering under a translucent ceiling, a 15-feet highgold-leafed position Any fairgoerenteringtheMines andMining Building ofthe INTRODUCTION Design; Belas-Artes.

Palavras-chave: Correspondence from AfonsoPena, thenMinas Gerais governor, namesGeorge Chalmers(aBriton pyramid wasshown inthePreparatory Exhibition inRiodeJaneiro “to emphasize inthefederalcap associated withtheMorro Velho Mining Company)responsible forconceptualising thedisplay. The In discussionofadisplaydesignedtorepresent thisshort Brazil abroad in1893, The pyramid’s scaleandsize were indexicaltothe volume ofgoldextractedinthat would be hard-pressed to miss the display mounted by the United States of Exposição Universal deChicago;Brasil; Primeira República; História do ordem eprogresso . 1 Recent researchaspects particular hasunearthed World’s ColumbianEx El Dorado

1894) . ------6/7/21 12:22 Iberoamericana, XXI, 77 (2021), 71-95 6/7/21 12:22 - . St. Louis, Mo.: Louis, Mo.: . St. The Magic City: A Massive Portfolio of Massive Magic City: A The Historical Pub. Co., 1894). Co., Pub. Historical Brazilian display in the Mines and Mining Building, World’s Columbian World’s Building, and Mining display in the Mines Brazilian Fig. 1: Fig. Exposition, 1983 (James W. Buel. 1894. Buel. W. 1983 (James Exposition, quivo Nacional (AN), AP14, 523-2004/13.54). In the aftermath of the regime change, Republicans change, Republicans the aftermath of the regime AP14, 523-2004/13.54). In (AN), Nacional quivo political participation in the new demanded increased federation, and imparting Gerais Minas from became paramount. at home and abroad, economic importance to its resources, ital the enormous mineral wealth of Minas [Gerais] state, at the same time to convince many people, [Gerais] of Minas ital the enormous mineral wealth (Ar in the country” a lot of advantage mining companies give […], that the foreign the figures by Original Photographic Views of the Great World’s Fair and its Treasures of Art, Treasures and its Fair World’s of the Great Views Photographic Original including a Vivid Representation of the Famous Midway Plaisance Midway of the Famous Representation Vivid including a electricity (Cesar and Cavalcanti 2016), geographic knowledge and the international 2016), geographic knowledge electricity (Cesar and Cavalcanti (Assis 2017), or the ascension of the United or Para of states like Bahia projections to the little attention has been given Yet, 2017). in global geopolitics (Gimenes States of the Brazilian representation in Chicago focussing on the history of sciences and representation of the Brazilian 04-Revista Iberoamericana 77_D-3_Rezende.indd 73 04-Revista Iberoamericana 77_D-3_Rezende.indd 74 74 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE turmoil. Moreover, thehistoriographyofBrazilian at participations World’s Fairs, In tion ofoilpaintingssentby Brazil how patriarchal values resurged amidstpolitical how discourseswere materialisedand,inparticular, by discussingthrough thecollec and collectionsseeninChicago. Thispapercontributestothisapproach by unpacking concrete manifestationsofpoliticalvisions,ideasandconflictonto Brazilian displays 2 Brazil. foranew their views 2006; Turazzi 1995)therecently installedRepublicans usedexhibitionstonegotiate 1997; Rezende 2017,2016,2010;Schuster 2017,2015a,2015b, 2015c;Schwarcz abroad inprevious exhibitions(Barbuy 1999;Hardman 1988;Heizer 2001;Pesavento nation itself. Astheimperialelitehadpresented theirversions ofanational project representation and(re)organising canbecompared the tothatofmakinganinventory (provisional government, 1889-1891).Thetaskoforganisinganation-wideexhibition corner andreinstate national control afterthetroubled periodof the Exposition toexhibitatthe the nationhadbeenthrough. Theopportunity in themidstofpoliticalconflictscanbeunderstoodprecisely becauseofthedisorder by high-ranking navyofficers. Chicago invitationwasacceptedonlyafterFloriano Peixoto becamepresident backed (Faustocited regional dissentacross thecountry 2001,144-146).In thisclimate,the Floriano Vieira deAraújoPeixoto, heightenedDeodoro’s politicalinstabilityandin of the Long-standing disagreement withtheCongress, disaffectionswiththecivilianleaders later afterafailedattemptatdissolvingtheNational Congress (Fausto 2001,143). Marshal Manuel Deodoro daFonseca, electedpresident in 1891,resigned months was ineconomicandpoliticalturmoil(Dean 1993,222-225;Fausto 2001,139-144). intheexhibitionarrived in1892,atimewhen The invitationtoparticipate Brazil PROJECTS THE FIRST YEARS OF THE FIRSTREPUBLIC: CONFLICTINGNATIONAL rial pastandinscribethemselves initsfuture are revealed inthediscussion thatfollows. Internal conflicts among republican factions who fought to re-write the Brazilian impe evidence. oftheexhibition materialcoupledwitharchivala closescrutiny documentary of exhibitiondisplaytoenforcein1893,therepublican theseviews veneer cracksunder tain theirpower andvisionsforBrazil. However, despitedevisingnumerous strategies the Republicans seized the World’s toascer ColumbianExposition asanopportunity political change. Four years after ousting the Brazilian Monarchy coup, with a military the Empire totheRepublic andthecleavages inthenationalrepresentation causedby ternational Exhibitions andExpositions Universelles rarely addresses thepassagefrom

The Graphic: Number Devoted to Brazil attheColumbian Exposition, Partido Republicano was seized as a strategic opportunity tofight wasseized asastrategicopportunity Floriano Peixoto’s political (Republican Party) andwith his vice-president, Marshal 2 Floriano Peixoto’s willingnesstoaccepttheinvitation October 28,1893,3. World’s Columbian governo provisório - - - - -

6/7/21 12:22 THE FUTURE OF THE PAST 75 Iberoamericana, XXI, 77 (2021), 71-95 6/7/21 12:22 ------(mil Regional 3 (Army Academy) (Army Academy) questão militar , this faction was repre That all exhibits had to pass exhibits had to pass That all 4 Academia Militar Academia (War College). His positivist convictions influenced College). His (War World’s Columbian Exposition World’s , January 7, 1893, 1. All translations are the author’s. 7, 1893, 1. All translations are , January 7, 1893, 1. , January Escola Superior de Guerra Superior Escola Diario de Noticias After the military coup of November 15, 1889, the new Republic became mired in mired became 15, 1889, the new Republic After the military of November coup A domestic preparatoryA domestic of states twenty the capital, and the was held in exhibition Diario de Noticias Contrasting Deodoristas’ military hero, Benjamin Constant was hailed ‘the found military Constant was hailed ‘the Benjamin hero, Contrasting Deodoristas’ Carvalho identifies four major political currents in the republican movement movement republican Carvalho in the political currents identifies four major

ly organised pre-exhibitions amassed and selected huge numbers of exhibits sometimes of exhibits sometimes huge numbers amassed and selected pre-exhibitions ly organised arriving in Rio. before of kilometres thousands travelling 3 4 the proclamation. positivists also associated with army officers (Carvalho by 1991, er of the Republic’ taught at the 144-146). Constant, an engineer, and the his supporters as the “father of the new regime” (Carvalho 1991, 143). Lacking (Carvalho Lacking 143). 1991, newthe of regime” supportershis “father the as signif claim for political the military’s an ideology or a distinct national project, symbolic importance the who eliminated as the hero on Deodoro’s icance rested and its political system and slavery, on agriculture its economy centred old regime, the At lawyers. by controlled during depicting Deodoro Bernardelli Henrique by painting the heroic sented by that formed alliances or opposed each other in a changing political game (Carvalho that formed alliances or opposed each a founding Republic, each faction invented years of the the first 1991, 141-142). In monuments, commissioned paintings, erected elected a mythical leader, allegory, symbols that visually argued for their particularand promoted views for the Brazil military the were by identified faction first The ousted who Carvalho Republic. ian acclaimed by Deodoro, after Marshal as the “Deodoristas”, II, known D. Pedro of the republican movement”, as noted by José Murilo de Carvalho (1991, 142). The Murilo José as noted by movement”, of the republican Paraguayan the since government army was in conflict with the imperial Brazilian to the came as a response to them, the end of the monarchy War; itary issue) (Carvalho 1991, 141-142). Empire (Fausto 2011, 127-128). Some urban party members supported Some 2011, 127-128). slavery aboli (Fausto Empire Other of suffrage. the social base of the state and the extension of tion, the broadening who turned to the republican landowners economically powerful party members were regions via and financial autonomy for their political power cause demanding more the Republic membership, this heterogeneous decentralisation and federalism. Amidst little participation the civilian leaders by army garrison, “with Rio’s by was proclaimed importance of Rio to the discontent of the increasingly powerful states of São Paulo Paulo states of São powerful importance of the increasingly of Rio to the discontent to be understood in the historical have therefore, These events, Gerais. and Minas of the Empire. the overthrow by context precipitated its since Party interests incorporated disputing Republican The political uncertainty. to the by their common opposition chiefly united in 1870 and remained foundation the federation were asked to contribute with their best regional production. their best regional to contribute with asked were the federation nodded to the political during the Empire, as scrutiny, federal capital for the through 04-Revista Iberoamericana 77_D-3_Rezende.indd 75 04-Revista Iberoamericana 77_D-3_Rezende.indd 76 76 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE a project forBrazil” 1991,144-146).Thisproject involved (Carvalho a republican to be“the thinker[…]thetheoretician, theleaderwhohadahistoricalversion and given “an Republic”, ideologytothenew Constantwasconsidered by hisfollowers ing theFirst Republic liketheseparationbetween church andstatein1890.Having several young army officers and resultedinsignificantsocialandpolitical reformsdur president. de Moraes Barros (1894-1898),the of theUnited States, andpoliticalpower came withthepresidency ofPrudente José political infighting.The Brazilianconstitution from 1891washeavilyinspired bythat 151-152). The Liberals’ oligarchic republican model eventually prevailed among the role as[…]responsible fortheintroductionregime” ofthenew 1991, (Carvalho or “consolidator”, Bocaiuva’s foundingrepublican manifestofrom 1870“asserted his driving force. Whilst other republican leaders were considered “father”, “founder” uva, theRepublican Party’s president at thetimeofproclamation, wastheoligarchy’s powers inaNational Congress. Journalist Quintino Antônio Ferreira deSousa Bocai of federalistdemocracywherein staterepresentatives have legislative andexecutive free economy. trade,andanexport TheLiberalsaspired tothe United States’ model tralisation. Theydemandedanincreased level of regional self-government, supported Rio Grande doSul andMinas Gerais states,theseRepublicans opposedpoliticalcen the Republican Party. Mostly unitinglandowners andcoffeegrowers from São Paulo, in theUnited States. significant as it commanded Brazil’s first representation as a republic at a World’s Fair Iron Marshal” (Fausto 2001,290).Thispolitical alliance,albeitfleeting,wasespecially mandate (1891-1894),alsoknown as“the consolidatoroftheRepublic” and“the Paulo. Thealliance between positivistsand membersfrom andpositivistswhofiercely opposedtheirliberalparty São military publican ideal. Political centralisation and authoritarian regimes appealed to both membersfrom RioforwhomtheFrenchradical party Revolution produced there ficers whodriftedwithoutaspecificpoliticalideologyhadalliedthemselves tothese corps, oftenpositivist-influencedorpositivists” (Needell 1987,241). Some armyof ies) wasidentifiedwithradicalsfrom “the urbanmiddlesectorsandthearmy’s officer through paintings andsculptures. sent toChicagowhere socialorder anew andtherole ofwomeninitwere imagined of symbols” (1991,152),astrategyclearlyseenintheBrazilian Fine exhibition Arts emphasisesthepositivists’1991, 147-148).Carvalho inclinationfora“manipulation and promote theciviccultoffamily, thefatherland,andhumanity” (Carvalho science wasa“legitimatepower resource”, “should andart betheidealizationofreality positivist stage. For or civilian technical training, these urban dwellers with military would leadBrazil out ofitstheologicalstate(identifiedwiththe Empire) andintoa dictatorship governed by enlightenedmenwho,inspired by thelawsofdevelopment, Liberal Party membersformedthemostorganisedandhomogeneousfactionof The third republican faction,the paulista Jacobinos Jacobinos whobecamethefirstcivilian republican (named aftertheFrench revolutionar peakedduringFloriano Peixoto’s ------6/7/21 12:22 THE FUTURE OF THE PAST 77 Iberoamericana, XXI, 77 (2021), 71-95 6/7/21 12:22 ------Gaze , December , December (National (National Diario de Noti

Although much 6 Originally scheduled Originally 9 Diario de Noticias Netto embodied a parcel a parcel embodied Netto Museu Nacional Museu 7 , November 18, 1892, 1. , November , April 3, 1893, 5; ‘Victim of Chicago’s climate’, climate’, 3, 1893, 5; ‘Victim of Chicago’s , April , November 20, 1892, 1; ‘O Brasil em Chicago’, Chicago’, em Brasil 1; ‘O 20, 1892, , November , November 19, 1892, 1. , November Due to what one commentator called “the old to what one commentator called “the Due 10 (Commerce and Farming Centre), among several several among Centre), Farming and (Commerce Gazeta de Noticias Gazeta Chicago Tribune Daily Gazeta de Noticias Gazeta Gazeta de Noticias Gazeta

8 The Preparatory Exhibition opened on 17 December, although in December, Preparatory opened on 17 Exhibition The , “A Exposição de Chicago”, October 8, 1892, 1. October de Chicago”, Exposição , “A 8, 1892, 1. October de Chicago”, Exposição , “A 10, 1892, 3. October no [M]useu Nacional’, preparatória , ‘Exposição 10, 1892, 3. October no [M]useu Nacional’, preparatória , ‘Exposição 11

, June 18, 1893, 1. , June 12 , January 13, 1893, 1; ‘Exposição Preparatoria no Museu Nacional’, Nacional’, no Museu Preparatoria 13, 1893, 1; ‘Exposição , January In republican times, “this has no longer reason to exist”. reason has no longer times, “this republican In 5 Even after the opening, unopened boxes were found in corridors and exhib were after the opening, unopened boxes Even 13 Centro da Lavoura e Commercio e Lavoura da Centro “Exposição Colombiana”, Colombiana”, “Exposição 6, 1893. See 17, 1892 to January days, December lasted for twenty It 18, 1892, 1; ‘Exposição Colombiana’, Colombiana’, 18, 1892, 1; ‘Exposição ta de Noticias Diario de Noticias Times York New Diario de Noticias Diario de Noticias Diario de Noticias The Preparatory Exhibition stretched across three sites. The main one, the former three across PreparatoryExhibition stretched The The preparatory works lasted from May to December 1892. December to May preparatoryThe from lasted works “Exposiçao Colombiana”, Colombiana”, “Exposiçao “Brazil’s fair commissioners”, fair commissioners”, “Brazil’s October 28, 1893, 5. Exposition, Brazil at the Columbian to Devoted Number Graphic: The

13 7 8 9 10 11 12 anthropological exhibits, and a “perfectly and carefully arranged” coffee display from from display coffee arranged” carefully and a “perfectly and exhibits, anthropological the others. 5 6 postponed twice. a chaotic state. the majority of general exhibits. Agricultural building, displayed Museum National in and shoes disputed the furniture pedagogic works, timber, Amazonian products, small building space with displays of telegraphs and railways, minerals, appropriately to open on 15 November 1892 to celebrate the fourth 1892 to celebrate anniversary of the Republic, to open on 15 November classified and mounted to be sorted, all parts ordered, from of Brazil exhibits arrived the opening. only a few days before things to the last minute, the opening was or the tendency to leave habit of Brazilians”, de Souza Mello e Netto, who worked as national and international exhibition commis as national and international exhibition who worked e Netto, Mello de Souza 151-153). 1995, Turazzi 2010; (Rezende 1867 since sioner even remained influential who –literate, scientifically trained– of the national elite the directed Netto 1988). change (Needell after the regime Exhi 1892, when he became the Preparatory May until for nearly 20 years Museum) bition vice-president. tory Exhi in 1892, thirty of imperial participation Exhibition years in International disguised that apparatus “spectacular a as characterised was Fairs World’s and bitions the poorness of the manufacturing of our splendidly gifted nature under the richness industry.” from imperial representation republican this first effort was dedicated to differentiate on the expertise of Ladislau relied Exhibition of the Preparatory ones, the command THE PREPARATORY EXHIBITION: A SHOW OF ABUNDANCE A SHOW OF EXHIBITION: THE PREPARATORY AND PATRIOTISM in the opposition Republicans found the were, as they and conflicting Heterogeneous to the Prepara the leading In and reconciliation. a point of convergence to the Empire 04-Revista Iberoamericana 77_D-3_Rezende.indd 77 04-Revista Iberoamericana 77_D-3_Rezende.indd 78 78 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE 17 20 19 18 designed exhibition containing naval technologies, machinery andmodelsdeveloped designed exhibitioncontainingnaval technologies,machinery bition. Thesecondsite,the overlooking oneofthemostfundamentalprinciplesacompetitive industrialexhi exhibits precluded andordering theirsorting intoclassesofobjectsforcomparison, its were displayed inentrancehallsandpatios. 16 15 14 tribute tothe“formation ofthewholethatwillrepresent theindividualityofour zilians were askedtomobilisethemselves “inthenameoftheircountry” andcon thenationwasforged.Bra decentralisedandpatrioticmethodofinventorying new for organisingregional andnationalexhibitions(Rezende 2010).In 1892,itseemsa issuedby theEmpirecontrasted withthestrictinstructions inthe1860sand1870s to Rio“natural andindustrial” products from theirregions. wise, stateexhibitioncommissionersandlocalauthoritieswere expectedtodispatch and ourdevelopment incivilisation”. thought “useful and pleasing”, to “demonstrate the degree of activity of our industries Brazilian publicwasencouragedtodispatch“products, notices,andinformation” they objects, reports [and]photographs” totheexhibitionorganisers’ address inRio. askingBraziliansadverts tosend“a from across thecountry great numberofproducts, ble forthechaosinmainsite.Thefront pageofperiodicalsfrequently published dignifiedly represented”. side with“herAmericansisters” inthis“branchofnationalactivitywhere we willbe that claimed Brazilports could assume “a first placein thearts” andcompeteside by in Chicago. The with paintingsandsculptures especiallyselectedtorepresent Brazilian lifeandhistory School of Fine exhibition was organised by an art sculptorRodolpho Arts), Bernardelli shal Floriano Peixoto. On thethird site,the naval achievements resulted from theNavy’s ensured political importance by Mar in Brazil sincethe war againstParaguay (1865-1870). “Exposição”,

rio deNoticias do Brasil a nationalexhibitionbuilding.However, itwasnever usedasanexhibitionspace. tion in1861until1904,whentheBrazilian pavilion built inSt Louiswasre-built inRiotobecome coffee abroad. hibitions inthe1880s,whenprivate initiative tookfrom thestatepower topromote Brazilian They hadbeen responsible forthefrequent andsuccessful indozens ofex Brazilian participation 1892, 1.The cias inthe The callforparticipation Exhibition maybepartially Preparatory responsi “Exposição preparatória noMuseu Nacional”, “Exposição preparatória noMuseu Nacional”, “Exposição preparatória noMuseu Nacional”, “Exposição preparatória noMuseu Nacional”, “Exposição Colombiana”, The chronic problem regarding aproper spacefornationalexhibitionslingered from thefirstexhibi , October 10,1892,3;‘OBrazil emChicago’, , January 8,1893,1. O Paiz , October 8,1892,1. Centro daLavoura Bellas-Artes , December 17, 1892, 1; 16 Gazeta deNoticias Arsenal daMarinha exhibition was positively acclaimed in contemporary re exhibitionwaspositively acclaimedincontemporary has expertise inorganizingBrazilian hasexpertise coffeeexhibitionsabroad. 18 Free forexhibitswasoffered. transport , November 20, 1892, 1;‘OBrazil em Chicago’, Jornal do Brasil Diario deNoticias Diario deNoticias Diario deNoticias Diario deNoticias Escola Nacional deBellas-Artes Jornal doBrasil (Navy Arsenal)hostedamore carefully 14 Crucially, thechaoticreception of , January 3, 1893, 1; ‘A Exposição’, 15 , October 10,1892,3. , October 10,1892,3. , October 10,1892,3. , October 10,1892,3. Thisexhibitionsinglingout 20 , December 18,23,24and27, Thiscompilationsystem (National 19 17 Like Jornal The The Dia ------6/7/21 12:22 THE FUTURE OF THE PAST 79 Iberoamericana, XXI, 77 (2021), 71-95 6/7/21 12:22

- - - - 26 24 Re Not Jornal Jornal 22 Jornal do Jornal Oppos 29 . , December 18, , December Lack of time Lack 30 (Railway General (Railway General O Paiz What was displayed displayed was What 27 Organizational chaos chaos Organizational 23 , October 10, 1892, 3. In Portu 10, 1892, 3. In , October , October 10, 1892, 3. , October , or patriotism. patriotismo World’s Columbian Exposition World’s Diario de Noticias , December 18, 1892, 3; ‘Exposição de Chicago’, de Chicago’, 18, 1892, 3; ‘Exposição , December , 18 December 1892, 3; ‘O Brazil não se Apresentará Apresentará se não Brazil ‘O 3; 1892, December 18 , Diario de Noticias , December 18, 1892, 3. , December , 20 November 1892, 1. , 20 November , January 16, 1893, 2; ‘Exposição’, 16, 1893, 2; ‘Exposição’, , January , 29 January 1893, 1. Marshal Peixoto was not present at present was not Peixoto 1893, 1. Marshal , 29 January , December 18, 1892, 1; ‘Exposição Preparatória’, Preparatória’, 18, 1892, 1; ‘Exposição , December , January 8, 1893, 1. , January 8, 1893, 1. , January Inspetoria Geral das Estradas de Ferro das Estradas Geral Inspetoria

28 Gazeta de Noticias Gazeta Jornal do Commercio Jornal Jornal do Commercio do Jornal Jornal do Commercio Jornal Jornal do Brasil Jornal Gazeta de Noticias de Gazeta Jornal do Brasil Jornal do Brasil Jornal Gazeta de Noticias Gazeta , October 2, 1892, original emphasis. , October , or fatherland, is also the root word for word , or fatherland, is also the root These public calls to citizen participation, however, offered little or no or little offered participation, calls to citizen These public however, , December 18, 1892, 3. , December 21 United States’ minister and diplomats, Brazilian ministers, Rio’s acting acting Rio’s ministers, minister and diplomats, Brazilian States’ United 25 pátria sentenced Brazil’s performance in the sentenced Brazil’s “Exposição preparatória”, preparatória”, “Exposição em Chicago”, “O Brazil em Chicago”, “O Brazil “Exposição Preparatória”, Preparatória”, “Exposição em Chicago’, ‘O Brasil preparatória”, “Exposição “Exposição preparatória no Museu Nacional”, Nacional”, no Museu preparatória “Exposição Nacional”, no Museu preparatória “Exposição em Chicago”, “O Brasil em Chicago”, “O Brazil vista Illustrada also opening. See before the inauguration, but made a visit to scrutinise the ‘industrial competition’ Colombiana”, “Exposição em Chicago’. Despercebido guese, 1892, 1. Commercio “We will not be the last, but also will not be the first” –with these words the –with these words will not be the last, but also will not be the first” “We Amidst clutter and shortcomings, the Preparatory Exhibition opened as a festive opened as a festive Exhibition clutter and shortcomings,Amidst the Preparatory

28 29 30 25 26 27 21 22 23 24 do Brasil American na among South that even newspaper optimism, the predicted ing Netto’s industrial fair”. this great place in a “first not expect could Brazil tions and problems organised initiatives, total absence of privately almost and resources, again. In his opening speech, Netto exalted the abundance of Brazil’s productive forces forces productive exalted the abundance of Brazil’s his opening speech, Netto again. In everyalmost from exhibits of number large the praised and state. as many exhibits Twice a fraction of submissions. in the main site, he bragged, was just not “will the crowd, assured proudly Netto “Brazil”, to Rio. in stock or in transit were go unnoticed in Chicago”. covered in flags from Brazil and the United States, and other sortsStates, and other ornaments. of United the Brazil and in flags from covered number great “a and in particular, present”, all social classes were of “Representatives of women progress “the exhibits that proved invited to submit were who of ladies” in Brazil”. completed the show. commissioners authorities and exhibition highly-ranked mayor, in imperial exhibitions, was evoked abundance, a rhetoric widely promoted Brazil’s Rio, but also exhibitors like the Rio, but also exhibitors Preparatory the bypassed Catarina Santa and Pernambuco of states the Inspectorship), to Chicago. contributions directly and sent their Exhibition soon see. will commission, as we for the Brazilian had major implications Military and the museum building was entirely bands played and patriotic affair. fatherland”. made, specification was no object given, was submission information: no logistical newspaperone move, populist another In mentioned. were products preferred no and welcome. were classification exhibition escaped that objects even that published in of exhibition organisers for the attention for free send anything anyone only could 04-Revista Iberoamericana 77_D-3_Rezende.indd 79 04-Revista Iberoamericana 77_D-3_Rezende.indd 80 80 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE concerning the immense national territory were toblame. concerning theimmensenationalterritory 33 32 31 leading scientificandprofessional menofthecountry”, informedthe New York (Brazilian Commission1893).“The[Brazilian] commissionincludessomeofthe ative, andtheremainder were engineers,medicaldoctors,andpoliticalauthorities men,tworepresentedwere military theFine one wasthewomen’s Arts, represent Of theapproximately twenty exhibitioncommissionersworking inChicago,seven cupied thehigherpostsinexhibitionhierarchy (Brazilian Commission1893). that comprisedthe als and scientists managed specialist sections inthe various exhibitionbuildings to order andrepresent thenationshouldnotcomeasasurprise.Liberalprofession militaries alliedtopositivists,theappointmentofscientists,armyornavyofficials national interests from Chicago. member oftheSupreme andformerSecretary of Court Military War, coordinated While Netto ledtheshow ofabundanceinRio,Marshal José Simeão deOliveira, a REPUBLICANS SETCAMPINCHICAGO all theodds. regime, and the reclaim over national abundance explain why it went aheadagainst productive forces inasymboliccohesive act.Patriotic pride,celebrationofthenew togalvanize Exhibition turnedintoanopportunity nationalobjects,subjects,and ry progress, The especiallyduringaperiodofpoliticaltransitionandstruggle. Preparato anddisordered,if uncomplimentary was ashow ofpower, possession,success,and principle ofBrazil’s incapitalistexpansionism.Theshow participation ofplenty, even ture (1999, 7). “Abundance” was framed, employed and displayed as the key working was notonlyastrategytogetcloserwhatNeedell callsadesired Europeanised cul speech hintedatit,ashow ofabundance.At thePreparatory Exhibition, abundance motto of an exhibitionheldundertheIron Marshal’s strong government andtherepublican ed by concernsandinterests? exhibitionorganisers,whatwere thentheirprimary Why rangement, information,classification,comparisonandranking were notforeground Exhibition commentators.If remained exhibitar unquestioned byry contemporary idea ofwhatBrazil iscapable”. productive forces inoneshow. Theexhibits,theypublished, “cannot give theexact withtherepublicanalso demonstratedfrustration attemptattotalizingthenational

Beyond organisation and representativeness, other telling aspects of the Preparato New York Times “O Brazil emChicago”, “Brazil’s faircommissioners”, “O Brasil emChicago”, ordem eprogresso , June 18,1893,1. World’s ColumbianExposition Gazeta deNoticias, Jornal doBrasil (order and progress) did notconvey either?Netto’s opening Chicago Daily TribuneChicago 32 33 , January 8,1893,1. In ahistoricalperioddominatedby December 24,1892,1. , April ofChicago’s 3,1893,5;‘Victim climate’, , whereas military personneloc , whereas military 31 The Gazeta deNotícias Jacobinos ------

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------37 New New New New New New Gazeta de Gazeta The clutter 39 The chaos was 40 “Nervous strain” and strain” “Nervous , January 16, 1893, 2. , January 41 Gazeta de Noticias de Gazeta , April 3, 1893, 5; ‘Brazil’s exhibit has arrived’, exhibit has arrived’, 3, 1893, 5; ‘Brazil’s , April , April 3, 1893, 5; ‘Victim of Chicago’s climate’, climate’, 3, 1893, 5; ‘Victim of Chicago’s , April , April 3, 1893, 5. , April Eager to transform the case into a drama Eager to transform the case into a , June 18, 1893, 1; ‘He Broke Down at Chicago’, at Chicago’, Down Broke 18, 1893, 1; ‘He , June at Chicago’, Down Broke 18, 1893, 1; ‘He , June at Chicago’, Down Broke 18, 1893, 1; ‘He , June 42 . , January 29, 1893, 1. , January , December 24, 1892, 1; ‘O Brasil em Chicago’, em Chicago’, 24, 1892, 1; ‘O Brasil , December , April 4, 1893, 2. , April 38 New York Times York New Times York New Times York New Chicago Tribune Daily Chicago Tribune Daily Chicago Tribune Daily causa mortis New York Times York New Gazeta de Noticias de Gazeta Gazeta de Noticias de Gazeta , April 22, 1893, 1. Both articles mention 500 tons of exhibits, 5,300 packages, , April Evidence suggests that Oliveira worked alone overseeing the national the alone overseeing worked suggests that Oliveira Evidence , June 18, 1893, 1. , June 35 , June 21, 1893, 5. , June 21, 1893, 5. , June 21, 1893, 5. , June , Oliveira fretted over the Brazilian exhibition for months. the Brazilian over fretted , Oliveira , January 13, 1893, 1; ‘O Brasil em Chicago’, 13, 1893, 1; ‘O Brasil , January Among them, the sculptor responsible for the Fine Arts preparatory ex the Fine for responsible them, the sculptor Among Evidence also suggests that Oliveira’s instructions commissioners exhibition to Oliveira’s that suggests also Evidence 34 36 “Victim of Chicago’s Climate”, Climate”, “Victim of Chicago’s “Victim of Chicago’s Climate”, Climate”, “Victim of Chicago’s Climate”, “Victim of Chicago’s “O Brasil em Chicago”, “O Brasil fair commissioners”, “Brazil’s “Brazilians don’t like it”, like it”, don’t “Brazilians fair commissioners”, “Brazil’s fair commissioners”, “Brazil’s em Chicago”, “O Brasil York Times York Times York Chicago Tribune Daily every ‘coffee enough […] to give visitor […] a taste of the luscious beverage’, 2,220 bags of coffee, and 128 cases of wine, 21 cases of minerals, 87 packages of wood, 41 cases of paintings and statues, 58 cases of machinery. Times York New York Times York New Noticias Oliveira was not heard; the ambition to show abundance prevailed. After the Pre After abundance prevailed. the ambition to show not heard; was Oliveira Marshal Oliveira arrived in the United States as President of the Brazilian Interna of the Brazilian as President States United in the arrived Oliveira Marshal

42 40 41 38 39 “overwork” caused by “the incompleteness of things” in the Brazilian representation representation in the Brazilian incompleteness of things” “the caused by “overwork” key identified as the were was quick to press the North-American and purposefulness, heroism plot involving struggle classify and organise to understand, death with mankind’s associate Oliveira’s 34 fee, 128 cases of wine, 21 cases of minerals, 87 packages of wood, 41 cases of paintings fee, 128 cases of wine, 21 cases of minerals, found their way to Chicago. and statues, and 58 cases of machinery” to the According transposed to Chicago. and disorganization seen in Rio was Times York 1893. death in June as a contributor to Oliveira’s reported Oliveira also requested that commissioners limited the number of exhibits sent from the number of exhibits sent from that commissioners limited also requested Oliveira transport high to avoid costs. Brazil paratory tons of exhibits, 5,300 packages, 2,220 bags of cof closed, “500 Exhibition 35 36 37 informed that the spaces secured in exhibition buildings were smaller than originally exhibition buildings were in spaces secured informed that the ongoing. Arts building were space in the Fine and that negotiations for requested, sioners arrived. buildings, exhibition in the various pavilion construction, space for Brazil securing back commissioners with liaising and exhibits, of arrival and dispatch the coordinating home. occa on many down and that communication broke seldom followed were in Brazil Brazil, with difficulty in communicating exposed Oliveira to Netto, Writing sions. Times. opera acclaimed the greatly and Carlos Gomes, Bernardelli, Rodolpho hibition, 1894). da Agricultura (Ministério composer other commis ten months before for and worked 1892, in June tional Commission 04-Revista Iberoamericana 77_D-3_Rezende.indd 81 04-Revista Iberoamericana 77_D-3_Rezende.indd 82 82 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE state”. the Herculean taskofgivingshapeandformtoanoceanexhibitsfoundina“crude Oliveira whosuccumbedunder wasdepictedasthehandsome,robust, brave military Times the worldaround them. 49 48 47 46 45 44 43 de Bellas-Artes ed by Rodolpho Bernardelli duringthePreparatory Exhibition atRio’s Chicago fairgoersnearlymissedtheBrazilian Fine representation Arts carefully select CHANGING THE NATIONAL PAST the discussionbelow. displayshownby another particular inthe Transportation Building, whichwillfinalise the inevitablepoliticalstagefornationaldevelopment aftertheEmpire wassustained can narrative intoBrazilian history. Thepositiviststrategyofshowing republicanism as aimed at rewriting Brazil’s pastand incorporating a seemingly long-standing republi the remainder will argue, the taken selection to of Chicago artworks of this article books, music, photography, and drama (Brazilian Commission 1893, 103-133). ings, sculptures, exhibitors–showing drawingsandengravings–400LiberalArts republican included109Fine investment intheArts, exhibitors–showing Arts paint “intellectual representation”, framedthe toquotehow articles, aseriesofnewspaper the Brazilian pavilionthatdifferentiated thisfirst republican representation. nificent paintingsandanumberofstatues” displayed atthe Fine Arts Building and Building –a ratio seen in previous exhibitions (Rezende 2016)– it was the “fifty mag 15-145). 2,400 exhibitorsatthe zilian exhibitioncommissionandcoordinated arepresentation ofapproximately in Chicagowantedtoconvey. cient, apicture challengedtheprogressive thatcertainly imagethe“distinct Brazilians”

from December 29,1892untilapproximately January 3,1893;‘OBrazil emChicago’, elsewhere. Commission report, Brazil had 1,211 exhibitors in the Agriculture and 1,178 exhibitors department Admiral Joaquim AntonioCordovil Maurity assumedthepresidency oftheBra ber 8,1892,1. Brasil The Brazilian “intellectual representation” wasdiscussed onthe front pagesofthe “Brazil’s Fair Commissioners”, The Graphic: Number Devoted to Brazil attheColumbian Exposition, October 28,1893, 5. ofChicago’s“Victim Climate”, “He Broke Down atChicago”, ofChicago’s“Victim Climate”, “O Brazil emChicago”, , “butthedemandshemadeuponitwere toogreat foreven hisrobust nature”. 45 These paintedadimpicturereports of Brazil, disorganisedanddeadlyineffi , December 29,1892,1. 46 Althoughmore thanhalfoftheBrazilians exhibitedattheAgriculture (National SchoolofFine Arts). Jornal doBrasil 43 World’s Columbian Exposition “He hadasplendidconstitution”, describedthe New York Times Chicago Daily TribuneChicago New York Times New York Times , January 3,1893,1;‘A Exposição’, , June 21,1893,5. , June 18,1893,1. , June 18,1893,1. 49 , April 3,1893,5.According totheBrazilian Upon arrivingintheUnited States, (Brazilian Commission 1893, Diario deNoticias Escola Nacional Jornal doBrasil New York Jornal do 47 , Octo This 48 As 44 ------

6/7/21 12:22 THE FUTURE OF THE PAST 83 Iberoamericana, XXI, 77 (2021), 71-95 6/7/21 12:22 ------World’s World’s Size became a Size The republican republican The 51 54 The commissioners’ commissioners’ The 52 , October 8, 1892, 1. , October , April 4, 1893, 5. , April Indignation followed. Some commissioners commissioners Some followed. Indignation Diario de Noticias 50 , April 4, 1893, 2, and ‘Brazil Fair Commissioners Indig Fair 4, 1893, 2, and ‘Brazil , April Chicago Tribune Daily , April 4, 1893, 2; Evidence does not disclose why but I infer but I why not disclose does Evidence 1893, 2; 4, April , as a protest for the unjust treatment. as a protest , April 4, 1893, 5. , April New York Times York New New York Times York New . Bernardelli, well known for expressing his political ability in ability in his political for expressing known well . Bernardelli, 53 Chicago Tribune Daily The Graphic: Number Devoted to Brazil at the Columbian Exposition, October 28, 1893, 20-21. Exposition, Brazil at the Columbian to Devoted Number Graphic: The de Chicago”, Exposição and “A Exposição” “A “Brazilians don’t like it”, it”, like don’t “Brazilians Commissioners Indignant”, Fair “Brazil like it”, don’t “Brazilians nant’, nant’, it may be related to the breakdown in communication discussed above. to the breakdown it may be related The artworks selected to represent Brazil in Chicago encapsulated various re various Brazil in Chicago encapsulated represent The artworks selected to

the Republican Party and the hailing of their leaders as heroes. The last cause, more more The last cause, of their leaders as heroes. and the hailing Party the Republican 50 51 52 time, as discussed by Carvalho (1990) and Lúcia Lippi Oliveira (1989). Bernardelli (1989). Bernardelli Carvalho Lippi Oliveira time, as discussed by (1990) and Lúcia caus at least three had a plethora of artworks to select for Chicago and to represent coincided cause first The 1893. around power in Republicans the for significant es and myths into a national history events with the inscription of republican narrative The second cause, if not inevitability. political validity, to ascertain the Republic’s of conflicts and factions to the aforementioned referred intertwined with the first, personal relationship with Benjamin Constant guaranteed him a post at the new with Benjamin personal relationship years for 25 directed Arts, which Bernardelli of Fine School National reformed ly Arts commissioner Exhibition chief Fine was appointed Bernardelli 2007). (Weisz contemporary late by 1892, a moment considered commentators October around section”. his develop to time little “very have would he judged who that by advanced were construction and manipulation of national symbols, however, argument with positivist and military for the ambitions was manufactured Columbian Exposition II Pedro Don with a friendship had benefited from Republic, or either the Empire art schools in the 1860s (Weisz to study at European state patronage and enjoyed privileges: his Bernardelli’s Republic did not jeopardise of the 2007). The advent the remaining artworks, including most of history paintings, were displayed in the artworks, most of history including displayed the remaining were paintings, national pavilion. of symbols and the manipulation through their quarrels publican messages, even and the Bernardelli Rodolpho between making of a civic pantheon. Associations the hypothesis that a visual further reinforce movement leaders of the republican the Brazilian art exhibition but the size and alleged importance of the nation. “Space art and alleged importance size exhibition but the of the nation. “Space the Brazilian “Italy complained, commissioner a countries”, European small to assigned been has recog are nations on that side of the ocean, and many of the smaller and Switzerland, close and friendly re an American nation, and which has which is while Brazil, nized, this”. like not do We out. shut is States, United the with lations whilst Arts Building space in the Fine was granted some and Brazil worked, protests strong argument to regain Brazil’s Fine Arts Building space, although not the size of not the size space, although Arts Building Fine Brazil’s to regain argument strong 53 54 Brazilian commissioners found that the space originally allocated for Brazil in the in the for Brazil allocated originally space that the found commissioners Brazilian had been withdrawn. Arts Building Fine the display the artworkswished to to leave others wanted in the national pavilion; Exposition Columbian World’s 04-Revista Iberoamericana 77_D-3_Rezende.indd 83 04-Revista Iberoamericana 77_D-3_Rezende.indd 84 84 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE tional history making.Thelargecanvas tional history Republic.women inthenew implicit butnolesssignificant, related totheperceived role and representation of of mineralwealth. Thepictorialdepictionofthe they became associatedwith the expansion of the Brazilian inland and the finding the São Paulo province slaves. In tohuntrunaway Brazilian folklore andhistory, During thecolonialperiod, younger brother, narratesathemeunexplored inBrazilian culture untilrecently. lic). and of Tiradentes) (The Proclamation of Independence), towards aRepublican nation: ilisation (Rezende 2005). regimenew as the most recent political stage in the development of the Brazilian civ tric version ofhistoricalevents. Thispainting’s re-display inChicagoalsoplacedthe reutilised the Exposition to thePortuguese foundland.Asthe whoconsecratedthenew ticised version of“discovery” depictsindigenousfamiliesasdocileandobligingnext in Brazil in1500was metwithagreeability by theindigenouspopulations.Its roman tradition, thisoilproposes amythoffoundationwhereby thearrival ofthePortuguese adelphia in1876(Rezende 2010;Schuster2015a).Following painting thehistory 55 from (The Cry Ipiranga) the inclusionof this paintingin the Brazilian representa margins of the Ipiranga River in São Paulo. Also known as guese Prince Regent Pedro I declared Brazil’s independence from Portugal by the A Proclamação daIndependencia received inthePreparatory Exhibition inRioduetodomesticpoliticaltensions. slant. Thisoilwassent by the São Paulo stateexhibitioncommissionandnot well by Pedro Américoin1888,alsoreframed anationalhistoricalevent witharegional Rio deJaneiro. the São Paulo region grew inpower andthreatened thestatusquoidentifiedwith age spokeoftheexpansionnationalfrontiers notonlyoutwards butinwards as oligarchy, the that wouldpinnacleayear laterwithPrudente deMoraes. For theliberal the politicalascensionof the São Paulo state in thenationalscenario,amovement already exhibitedby theEmpire atthe Brazil), painted by Victor Meirelles in 1860, is a mark of Brazilian visual romanticism

Four otheroilpaintingscompletedthenarrative ofprogress anddevelopment Five oilpaintingsfavoured theinscriptionofrepublican events andmythsinna A Proclamação da Independencia “O Brazil emChicago”, Os Bandeirantes commemorated the “discovery” of the American continent, the Republicans A Primeira Missa noBrasil bandeirantes A Proclamação daRepublica (c.1889)by Henrique Bernardelli, Rodolpho Bernardelli’s Jornal doBrasil were celebrated as heroes.local, brave, Their im rural Os Bandeirantes produces an allegory forthemoment whenPortu produces anallegory bandeirantes , January 5,1893,1. (The Proclamation of Independence), painted oiltoreinstate anationalistand Western-cen A Primeira Missa noBrasil O Martírio de O Martírio Tiradentes Centennial International Exhibition were explorers hired inmostcasesby (The Proclamation ofthe Repub , A Proclamação daIndependencia bandeirantes O Brado do Ipiranga in1893represents (The First Mass in World’s Columbian (The Martyrdom ofPhil paulista 55 ------

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------56 (tooth-puller). (tooth-puller). O Martírio de Tira O Martírio de Tiradentes (The Proclamation of the Repub of the Proclamation (The , October 8, 1892, 1. , October Diario de Noticias (compatriots) and encouraged to secure the place that “with the place that “with (compatriots) and encouraged to secure A Proclamação da Republica da A Proclamação relevance in the process of independence that explains Rio’s Rio’s that explains of independence the process in relevance paulista compatriotas (The Martyrdom of Tiradentes), became a heroic, regional figure hailed to hailed regional figure became a heroic, Tiradentes), of Martyrdom (The “A Exposição de Chicago”, de Chicago”, Exposição “A While the military, landowners and positivists fought a symbolic battle over di and positivists fought a symbolic battle over landowners While the military, Finally, the painting Finally, Tiradentes, as painted in 1893 by Aurélio de Figueiredo in de Figueiredo Aurélio 1893 by as painted in Tiradentes,

fish scale and feather, children’s clothing, cushion covers, among other homemade, among other homemade, clothing, cushion covers, children’s fish scale and feather, 56 public. When called to participate in the Preparatory Exhibition women were often often women were Exhibition When called to participate in the Preparatory public. described as civilisation”. of universal women in the progress the Brazilian to relates all dignity, News to choose what to exhibit in Rio or Chicago. not free were however, Women, lace, ornaments made of paper adverts announced what was expected: “needlework, “has become the standard representation of the proclamation of the Republic” present present of the Republic” of the proclamation representation “has become the standard republicanism in every between association and long-lasting schoolbook; a positive (Carvalho 1991, 145). and militarism in Brazil brothers the Bernardelli artworks by three mythical and historical narratives, verging ascribed to women in the new Re and representations suggested cohesion in the roles lic), painted by Henrique Bernardelli (c. 1890), imagined Marshal Deodoro entering Deodoro (c. 1890), imagined Marshal Bernardelli Henrique lic), painted by under the acclamation of his officials. the imperial courts and ousting the Monarchy hero national a different established this painting in 1893 the military in power For Deodoro composition shows pantheon. The and another candidate to the republican as coad act while Constant and Bocaiuva pose in the foreground combative in a heroic CarvalhoAs painting this years background. the in jutants first those since out, points dependence” and was “placed in the civic pantheon of the nation” with Bonifácio and and with Bonifácio in the civic pantheon of the nation” “placed was and dependence” the “symbolized states Carvalho, trinity”, “civic Constant (Carvalho This 1991, 146). the positivist society its historical destiny”, society toward of Brazilian advancement (Carvalho 1991, 146). Portuguese crown paraded Tiradentes’ remains between Rio and Vila Rica, the capital Rica, the capital Vila Rio and between remains Tiradentes’ paraded crown Portuguese some For was left on public display. his head where province, Gerais of the Minas the idea civilian myth that conveyed became an anti-monarchy Tiradentes factions, people for a long time (Carvalho the Brazilian by had been desired that republicanism pleased the Minas background rural and regional Tiradentes’ 1990; 1991, 151), while of in precursor the positivists he became “the For oligarchies. Paulo and São Gerais vier was an eighteenth-century second lieutenant from the Minas Gerais province, province, Gerais vier was an eighteenth-century Minas the second lieutenant from him the nickname as a dentist gave whose occasional work of discontents against a group led Tiradentes rush, gold 1789, during the Brazilian In a repub plot to proclaim His exploitation of his province. mercantilist Portuguese and was sentenced to death, hanged Tiradentes was unveiled; Gerais lic in Minas the and terror, power a case of spectacular display of in 1792. In in Rio quartered dentes Xa da Silva José Joaquim Republic. of the the advent with and prestige recognition tion suggests a tion suggests disapproval. 04-Revista Iberoamericana 77_D-3_Rezende.indd 85 04-Revista Iberoamericana 77_D-3_Rezende.indd 86 86 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE home-abiding”. display: “the womenofBrazil, incharacterandeducation,are […]homeloving, zilian women’s exhibition,corroborated therole andrepresentation tobeputon crafted artefacts”. 59 58 57 (Dazzi 2006). philosophical works, intendedtoreaffirm thewomen’s roleasspouseandmother” popularity belongstoaglobal“moralist whichthrough literary, crusade, medicalor womanly pleasures anddeath. Dazzi notes how thismyth’s latenineteenth-century way between satiationandlifelessness–areminder ofthedangerous linkagesbetween her facebarely discernible.The compositionframesherlimpbodyambiguously, half with ecuted forherunconventional sexualbehaviour, thispaintinghasstrikingsimilarities later. Named aftertheroman empress Valeria Messalina, known, condemnedandex 2006). Thisculturalmilieualsoinspired H. Bernardelli topaint Italian alsoexploringmotherhoodastheredemption artworks ofwomen’s sins(Dazzi ternidade ty” tobeattributedanyplaceandwoman(Dazzi 2006).H.Bernardelli painted her. historianCamilaDazzi callsthisrepresentation Art an“indeterminatetemporali universal of Linnaean Systema mother and to impose a sort Naturae classification on makes herunknown. Theartwork’s titlesuggestsH. Bernardelli’s attempttopainta by depicting a peasant woman nursing a child. The semi-veiling of her eyes and face alongside thepainting the sculpture women’s societalroles were pressive. Thethree artworks by the Bernardelli brothers that represented andascribed 1985, 171).Asexhibits,therepresentation ofwomenwasnolessprescriptive andop tive work thatare recognized, valued, andrewarded […]are men’s business” (Irigaray given the care oftheirfamiliesinasocietywhich“all themodalitiesofproduc and exhibitors,were toconforma“homeloving” or“home-abiding” role, andwere self-expression were continually denied to them. Women, even as makers,designers bian Exposition possibility of[…]relations amongmen” (Irigaray 1985,172),asinthe can onlybe“wives, daughtersandsisters[who]haveasthe value onlyinthattheyserve en asexchange commodities inapatriarchal society. Irigaray pointsoutthatwomen ers. ian women’s sectioninChicagowere invariably related tomaleexhibitioncommission

In theoil The committeemembers responsible forthe Exhibition andthe Preparatory Brazil “Comite dasSenhoras”, The Graphic: Number Devoted to Brazil attheColumbian Exposition, October 28,1893,6. “A Exposição deChicago”, 59 This reflects what Luce Irigaray(1985)discussesinher analysisofwom Marxist Maternidade inItaly inthemid-1880s.Dazzi discusseshisinspiration from contemporary Maternidade Cristo eaAdúltera , where womenexhibitorsfeatured onlysuperficiallywhilstagencyand 58 57 incompositionandmeaning.Messalina’s eyes are darkened, and Martha Sesselberg, appointedchiefcommissionerfortheBra Marabá Diario deNoticias Diario deNoticias , Henrique Bernardelli explored thethemeofmotherhood Maternidade (fig. 4),alsoexhibitedinChicago. (ChristandtheAdulteress), whichwillbeanalysed , October 4,1892,3. (Motherhood) (fig.2), , October 8,1892,1. Messalina Messalina World’s Colum (fig.3),and a few years afew Ma ------6/7/21 12:22 THE FUTURE OF THE PAST 87 Iberoamericana, XXI, 77 (2021), 71-95 6/7/21 12:22

Oil on canvas, 150 × 100 cm. Coleção Museu Nacional 150 × 100 cm. Coleção Museu on canvas, Oil

circa 1885. circa

, de Belas Artes/Ibram/Ministério do Turismo. Photo: César Barreto. César Photo: Turismo. do Artes/Ibram/Ministério de Belas Henrique Bernardelli (Valparaiso, Chile 1857-Rio de Janeiro, Brazil 1936), Brazil Chile 1857-Rio de Janeiro, (Valparaiso, Bernardelli Henrique Maternidade Fig. 2: Fig. 04-Revista Iberoamericana 77_D-3_Rezende.indd 87 04-Revista Iberoamericana 77_D-3_Rezende.indd 88 88 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE Fig. 3: Messalina Henrique Bernardelli (Valparaiso, Chile1857-RiodeJaneiro, Brazil 1936), de Belas Artes/Ibram/Ministério do Turismo. Photo: Jaime Acioli. ,

1878 /1886.

Oil oncanvas, 207x115 cm.ColeçãoMuseu Nacional

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1882.

, Marabá conjoined mes conjoined Messalina and Maternidade , do Turismo. Photo: Acervo Mnba/Ibram/Ministério do Turismo. do Mnba/Ibram/Ministério Acervo Photo: Turismo. do World’s Columbian Exposition Columbian World’s Rodolfo Amoedo (Salvador, BA 1857-Rio de Janeiro, RJ 1941), BAJaneiro, 1857-Rio de (Salvador, Amoedo Rodolfo At the At ductive instruments marked with the name of the father […], must be private property, property, instruments […], must be private with the name of the father ductive marked without social order responsibility is to maintain the […] Their exchange. from excluded 1985, 185-186). intervening it (Irigaray so as to change soci dynamics of the patriarchal exchange the from excluded Whilst mothers are As mother, woman remains on the side of (re)productive nature. […] Mothers, repro […] Mothers, nature. (re)productive on the side of woman remains As mother, Fig. 4: Fig. Oil on canvas, 120 x 170 cm. Coleção Museu Nacional de Belas Artes/Ibram/Ministério Artes/Ibram/Ministério de Belas Nacional 120 x 170 cm. Coleção Museu on canvas, Oil commodity’s use-value (Irigaray 1985, 186). In Irigaray’s analysis, a third role, albeit role, analysis, a third Irigaray’s 186). In 1985, (Irigaray use-value commodity’s ety, prostitutes are “explicitly condemned” but “implicitly tolerated” as they signify a as they but “implicitly tolerated” condemned” “explicitly are prostitutes ety, or prostitutes. According to Irigaray, “a commodity –a woman– is divided into two –a woman– is divided into commodity “a to Irigaray, According or prostitutes. body, exchangeable valued, socially her and body ‘natural’ her ‘bodies’: irreconcilables 185- 1985, (Irigaray of masculine values” which is a particularly mimetic expression reflect such duality: exhibited 186). These paintings sages. At one level, these paintings remind us that female body representation be female body representation us that remind these paintings level, one sages. At exchange Irigaray calls the of what in a fitting example men (painters), longed to these another level, At 1985, 170-191). (Irigaray in a gender economy of women as either mothers societies for women in patriarchal role ascribed a twofold paintings 04-Revista Iberoamericana 77_D-3_Rezende.indd 89 04-Revista Iberoamericana 77_D-3_Rezende.indd 90 90 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE by poetGonçalves Dias, conjures Bra equallytheideaofvirginityandthatanew (1882) by Rodolpho Amoedo. Thecomposition of oftheBrazilianwas part Fine exhibitionsenttoChicagointhepainting Arts or “pure exchange value” (Irigaray 1985, 186). Tellingly, a characterisation ofvirginity a transitionalone,canalsobeascribedontowomen’s exchange value: thatofavirgin by theRepublicans tofightfortheirpoliticalfuture? imperial carriageplacedwithinthecarefully selectednarratives ofpastgloriesmounted the carriageasan“ancient […]relic” (Werner Company1894).How, then,wasthe sins redeemed by motherhood,in zilian race. Whilst in used inthebarbarianinvasions thatformed Europe, a“primitive train” usedinNew pany 1894).Thisnarrative wasdesignedthrough displayingmodelsof Viking ships (Wernerism diffusedcivilisationacross theglobe,especiallyinAmericas Com that reinforced theexhibitionpremise thatEuropean enlightenmentandexpansion ofprogress linearview its andtheirtechniquesofdisplaypromoted anevolutionary used toevidencehumanmovement anddevelopment over thecenturies.Theseexhib oldandnew, inalargeseriesofexhibitsmodestransport, display wasinserted rived continentandchangedthecourseofhumanity. inthenew Theimperialcarriage an Exposition lumbian Exposition Gallery carriage used during the first reign ofthe Brazilian Empire (fig.5). object displayed inthe Transport Building, forthere itwas,battered inacorner, a pyramid intheMines andMining buildingwouldmostlikelyoverlook theBrazilian The Chicago fairgoer whowouldbe hard-pressed to miss the15-feethigh gold-leafed DEMOTING PAST PATHS ing thepower ofmalecommissioners. women’s representation inexhibitionswasacompellingandrecurrent wayofreiterat of relations amongmen” (Irigaray 1985,184-185).Thepossessionandexchange of forced “the constitutionofwomenas‘objects’” to“emblematize thematerialisation need toexert control, over thenationandover graduallyemancipatingfemales,rein society duringanunstablepoliticalperiodcannotbeconsidered coincidental.Men in a woman was to obey the laws of men. The patriarchal representation of the Brazilian epitomisedthepreceptsfor hersins.Thisartwork conveyed by theprevious two:that ofamarriedwomanwhoseeksforgiveness ed thebiblicalpassagethattellsstory Adúltera exhibited in nal Chicago, artwork also created by Rodolpho Bernardelli. In compounded The narrativeby afi ofwomanhood,sexualityandshamewasfurther Displays were oftransportation oneofthedefiningaspects , oneofseveral illustratedalbumsissuedby interested inthe parties (ChristandtheAdulteress), amarblegroup from 1881,R.Bernardelli sculpt , anexhibitionthatcelebratedthemomentwhenEuropean caravels ar and responsible for its global readership and dissemination, framed Maternidade thewoman’s bodyisfulfilled by procreation andher Messalina , sexualpleasures leadtoshameanddeath. Marabá ,

a mixed-race woman sung World’s Columbi The Columbian World’s Co Cristo e a Marabá ------6/7/21 12:22 THE FUTURE OF THE PAST 91 Iberoamericana, XXI, 77 (2021), 71-95 6/7/21 12:22 -

World’s World’s The Columbian Gallery:The Columbian . 1993). . Chicago: The Werner Co., s/p). Werner Co., . Chicago: The et al , 1983 (Werner Company. 1894. Company. , 1983 (Werner and Marvels of the Midway Plaisance of the Midway and Marvels Carriage from the first reign of the Brazilian Empire, Transport Building, Transport Empire, Brazilian of the reign the first from Carriage A Portfolio of Photographs from the World’s Fairs including the chief palaces, Fairs World’s the from of Photographs A Portfolio interiors, statuary, architectural and scenic groups, characters, typical exhibits, and scenic groups, architectural interiors, statuary, Compared to these epic examples of universal progress displayed outdoors, the displayed progress of universal to these epic examples Compared Columbian Exposition Fig. 5: Fig. bringing this object to Chicago and for its unappealing display design. Its reception reception bringing this object to Chicago and for its unappealing display design. Its telling of the appetite –or lack of it– for objects of though, was States, in the United Brazilian imperial carriage figures insignificantly. Unlike the golden pyramid and the insignificantly. imperial carriage figures Brazilian for it has not been possible to ascertain who was responsible Arts representation, Fine the White City, the nickname given to the exhibition premises for its white-cladded, for its white-cladded, to the exhibition premises given the nickname White City, the (Harris and planning Beaux-Arts architecture York in the 1830s to illustrate “the evolution of the modern space-destroying locomo space-destroying modern the of evolution “the to illustrate the 1830s in York of conquer the plains pioneers to Western schooner used by prairie a 1850s’ and tive”, of colonialist this narrative 1894). Foregrounding Company (Werner America North María, ships –Santa sailing the three of the replicas were and conquest emancipation basins of in the spectacular moored Columbus then by commanded and Niña– Pinta 04-Revista Iberoamericana 77_D-3_Rezende.indd 91 04-Revista Iberoamericana 77_D-3_Rezende.indd 92 92 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE Company 1894).Thecarriagewasdisplayed indoorsinunadornedandlessthanim seventy years ago,all hisfamilyhavingsinceretired from the empire business” (Werner was thatthis“Brazilian specimenbelongedtoanemperor that[had]flourishednearly to seethecarriageexhibitedatall.“Theapology” forthisdisplay, wrote the reporter, that precedence. Acommentatorwritingfor to coloniseitsterritory, societywasstillawork inprogress. Worth promoting abroad beneficial. For anationthataimed atattractingnationalinvestment andimmigrants ucation, housing,employment, oranyotheraspect thatcouldbeconsidered socially littleinthewayofpubliced dernity andmodernization.These reforms included very dwellers andtraditionalimperialarchitecture from thecitycentre inthenameof mo felt, forexample,inRio’s urban reforms thatremoved latenineteenth-century poor ings ofprogress were displayed. Theactualimplicationofthese reimaginations were rewriting thenationalpastandreimagining itsfuture, understand several particular national projects were imaginedand projected in the international arena. Through of theBrazilian representation inChicagoreveals acontestedperiodwhendifferent political interests interplaywithimagination,creation anddesign.Theinvestigation World’s ColumbianExposition create validating mythsandsymbols,theBrazilian representation mountedforthe In theearlyyears oftheFirst Republic, asdiverging republican factionsfoughtto CONCLUSION become identifiedwiththeslow tempo,a bygone past. similar vein, of its civilising experience, had imperialism in the Americas, albeit a part and communicationseemslow”of existence,transport (Kern 2003,129-130).In a was atleasttwofold:itspeededupthetempoof[people’s lives] and[made]oldmodes the pastsetby technologicalinnovation: “the impactof[…]acceleratingtechnologies revealedof transport whatStephen Kern conceptualisesastherelative slow motionof greatest locomotive inEngland, alsoondisplay. Thisintentionalcontrastofmodes ical innovations andscientificadvancements ofthepastcentury, symbolised by the emptiness” witha“decided un-Americanflavour”(Werner Company Mexicofrom nineteenth-century andBrazil as“old fashionedattempts”, “pompous order anddemotedtoacorner. The fairgoers thattheold certified regime was,like itscarriage, representative oftheold ians whohadbeensubjectstoanempire untilrecently. At thesametime,thisdisplay had anambivalent meaning.It grantedthestatusoftraditionandcivilisationtoBrazil memorialofsomethingpast–thecarriage to have beenmade.Asarelic –asurviving on itsside.No to of efforts royalrestore thisobjecttoitsformerglory opulenceseem no windows. The wheels were uneven, itspaintwascomingoff,abarlooselyleft posing surroundings, withoutornamentation,plinth,framing,andforwhatitseems, In addition,theimperialcarriageworked asacounterexample ofthetechnolog serves as a rich opportunity toinvestigate how asarichopportunity andwhyserves Columbian Gallery The Columbian Gallery framedempires liketheones was disconcerted wasdisconcerted

1894). ------6/7/21 12:22 THE FUTURE OF THE PAST 93 Iberoamericana, XXI, 77 (2021), 71-95 6/7/21 12:22 . ------2: 139-157. o 48, n , did little to damage, did little 1. http://www.dezeno o 1, n . Chicago: EJ Campbell. The Americas The 31. DOI: 10.4000/confins.12131. in St Louis, Missouri, in 1904. Louis, Missouri, in St 19&20 Cofins ordem e progresso e ordem kindly authorised the reproduction of reproduction the authorised kindly 3: 333-363. DOI: 10.1177/1359183509106424. o : e os embates sobre energia elétrica observados: e os embates sobre por 14, n A Formação das Almas: O Imaginário da República no Brasil da República O Imaginário das Almas: A Formação 2: 34-37. DOI: 10.21727/rm.v7i2. o Catalogue of the Brazilian Section of the Brazilian Catalogue Louisiana Purchase Exposition Louisiana Purchase 7, n A Exposição Universal de 1889 em Paris: Visão e Representação na Socie e Representação Visão em Paris: de 1889 Universal A Exposição St. Louis: Historical Pub. Co. Pub. Louis: Historical St. The Magic City: A Massive Portfolio of Original Photographic Views of the Photographic PortfolioOriginal of Massive City: A Magic The Mosaico . São Paulo: Loyola. Paulo: . São Journal of Material Culture of Material Journal Chicago World’s Columbian Exposition Columbian World’s Chicago The failings in the organisation of the domestic exhibition, which showed fractures fractures showed exhibition, which of the domestic in the organisation The failings tos: Análise da Tela ‘Mater’ de Henrique Bernardelli”. Bernardelli”. de Henrique ‘Mater’ Tela tos: Análise da vevinte.net/obras/mater_eba.htm. São Paulo: Companhia das Letras. Paulo: São “ um brasileiro”. enviados para Exposição Universal de Chicago, EUA”. de Chicago, EUA”. Universal enviados para Exposição dade Industrial of the Famous Representation Vivid including a of Art, Treasures and its Fair World’s Great Plaisance. Midway tions”. tions”. Dazzi, Camila. 2006. “A Mitificação da Mulher na Cultura Figurativa do Último Oitocen Último do Figurativa Cultura Mulher na da Mitificação Camila. 2006. “A Dazzi, Carvalho, José Murilo de. 1991. “The Unfinished Republic”. Republic”. Unfinished de. 1991. “The Murilo Carvalho, José de. 1990. Murilo Carvalho, José 2016. Cavalcanti. de Rangel Moreira Barreto Reinalda and Irenilda Baldez Dyego Sérgio Cesar, Barbuy, Heloisa. 1999. Heloisa. Barbuy, 1894. W. James Buel, Commission. 1893. Brazilian REFERENCES in the Age of Exhibi Argentina and Brazil Value: of 2009. “Tournaments Andermann, Jens. livrosBrasil nos do pensamento geográfico no produção “A de. 2017. Sousa Assis, Raimundo Jucier This research has been supported by the CAPES Foundation of Brazil. The Brazilian Brazil. The of Foundation been supported has the CAPES by research This (MNBA) Artes Ibram / Belas de Nacional Museu nº 10/2020). de Autorização the paintings in this article (Requerimento better future. 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Indigenous evidenced by of a civilised world natu erased, were Afro-descendants kept at home, women were of anthropology, realms for exploiters, and gov of wealth solid source an abundant considered were ral resources ato nation their guided who men heroic superior, as hailed were elites local or ernment were its immense territory, inexhaustible natural resources, and allegedly benevolent allegedly benevolent and natural resources, inexhaustible territory, its immense were government. a nation under and discourses of in the projects that remained image of Brazil the fairgoer, the occasional For image abroad. the national 04-Revista Iberoamericana 77_D-3_Rezende.indd 93 04-Revista Iberoamericana 77_D-3_Rezende.indd 94 94 Iberoamericana, XXI, 77 (2021), 71-95 LIVIA REZENDE Dean, Warren. 1993.“Economy”. 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edited by RafaelCardoso, 20-57. São Paulo: CosacNaify. . Cambridge:Harvard University Press. 22:147-181.http://revistas.fflch.usp.br/anphlac/article/view/2592. Ciência, Civilização eImpério nos Trópicos História ConcisadoBrasil This Sex Whichis Not One The Culture of Time and Space, 1880-1918 A Tropical Belle Époque: Elite Culture andSocietyin Turn-of-the-Century . Chicago:ChicagoHistorical Society. Historia Crítica Luso-Brazilian Review O Design Brasileiro Antes doDesign:daHistória Aspectos Gráfica, Exposições Universais: Espetáculos daModernidade noSéculo Trem Fantasma: AFerrovia Madeira-Mamoré eaModernidade Relatório doanode1893 , editedby Grace Lees-Maffei andKjetil Fallan, 259-273. Brazil: Empire andRepublic, 1822-1930 55,n The Hispanic American Historical Review . São Paulo: Edusp. o . Ithaca: CornellUniversity Press. 1:45-71.DOI:10.7440/histcrit55.2015.03. RIHA Journal 36, n Designing Worlds: National Design His o 1:1-18.https://www.jstor.org/sta xix . RiodeJaneiro: Imprensa Na . RiodeJaneiro: MAST. 127. http://nbn-resolving.de/ para o . Cambridge:Harvard Uni 30,n Grand Illusions: Chicago’s xx o Estudos Históricos ”. 2:122-138.DOI: Revista Eletrônica , editedby Leslie 67 (2): Journal xix 2, ------.

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o ------26, n 64: 147-174. DOI: 64: 147-174. o 17, n . Chicago: The Werner Co. . Chicago: The Galerías del Progreso: Museos, Exposiciones Exposiciones Museos, del Progreso: Galerías 4. http://www.dezenovevinte.net/artistas/ o A Portfolio of Photographs from the World’s World’s the from Photographs of Portfolio A Iberoamericana . ”. ”. In ”. In 2, n xix xix 19&20 , edited by Beatriz González-Stephan and Jens Ander and Jens González-Stephan Beatriz , edited by Estudios Interdisciplinarios de América Latina y el Caribe Latina de América Interdisciplinarios Estudios

Poses e trejeitos: a fotografia e as exposições universais na era do espetácu era na e as exposições universais a fotografia e trejeitos: Poses The Columbian Gallery Columbian The . Rio de Janeiro: Rocco & Funarte. Rocco . Rio de Janeiro: do a visão de seus contemporâneos”, do a visão de seus contemporâneos”, rb_sgw.htm. Charac and Scenic Groups, Architectural Statuary, Interiors, the Chief Palaces, Including Fairs Plaisance and Marvels of the Midway Exhibits, Typical ters, posições Universais de Finais do Século do Século de Finais posições Universais Latina en América Visual y Cultura Viterbo Beatriz mann, 195-220. Rosario: 1839-1889 lo, World’s Fairs, 1862-1889”. 1862-1889”. Fairs, World’s 10.18441/ibam.17.2017.64.147-174. 2: 17-41. século do universais guai nas exposições Manuscript received: 15.05.2020 received: Manuscript manuscript: 13.11.2020 Revised accepted: 14.01.2021 Manuscript Weisz, Suely de Godoy. 2007. “Rodolpho Bernardelli, um perfil do homem e do artista do homem um perfil segun Bernardelli, 2007. “Rodolpho de Godoy. Suely Weisz, 1894. Company. Werner Schwarcz, Lilia Maria. 2006. “Os Trópicos como Espetáculo: a Participação Brasileira nas Ex nas Brasileira como Espetáculo: a Participação Trópicos 2006. “Os Lilia Maria. Schwarcz, 1995. Ines. Maria Turazzi, Schuster, Sven. 2015c. “Envisioning a ‘Whitened’ Brazil: Photography and Slavery at the Slavery and Photography a ‘Whitened’ Brazil: “Envisioning 2015c. Sven. Schuster, Para Guerra do da e a glorificação Brasil O dos vencedores: visão “A 2017. Sven. Schuster, 04-Revista Iberoamericana 77_D-3_Rezende.indd 95