The 1889 and 1900 Paris Universal Expositions: French masculine nationalism and the American response

Abstract

Universal expositions of the later nineteenth century were opportunities for the host country to reinforce its sense of nationalism and to showcase its technological progress or, read differently, the progress of man. This thesis examines nationhood as defined in terms of masculinity at the 1889 Paris Universal Exposition, which demonstrated French technological, colonial, and artistic superiority over all other nations. This superiority was trumpeted not just through architecture and colonial exhibits, but also through criticism of other countries' artwork, particularly painting and sculpture from the United States. Also discussed is the reaction of American artists to the criticism received in 1889 by producing art at the 1900 Paris Universal Exposition that resonated with masculinity, thereby projecting an enhanced national identity in fine art.