The fine arts
in Ephemeral vistas
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Fine Art Palaces bristled with traditional aspects of civilization; they reminded urban dwellers of their pre-industrial heritage and of value systems vaguerised by modern life. At the 1924 Empire Exhibition, the Palace of Fine Art seemed to be genuinely confused as to its role, ultimately appearing as an arbitrary gathering of hand-made produce. Orientalism in fine art, as opposed to primitivism, owed little in the first instance to displays of North African and Eastern art at exhibitions. The European fine arts featured only incidentally at the last series of exhibitions held at South Kensington between 1883 and 1886. By 1893 it was clear America could emulate Europe in the quantity and scale of its fine art practice. Inspired probably by the foundation of the Pennsylvania Academy of Fine Arts in 1876 and of museums in Boston and New York, the number of American artists of all kinds had increased remarkably.

Ephemeral vistas

The Expositions Universelles, Great Exhibitions and World’s Fairs, 1851–1939

Editor: Paul Greenhalgh


All Time Past Year Past 30 Days
Abstract Views 66 15 0
Full Text Views 24 1 0
PDF Downloads 10 7 0