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Summary
Illustration shows a statue of Thomas Jefferson labeled "Thomas Jefferson The Father of Expansion" at the Louisiana Purchase Exposition in Saint Louis, Missouri, with Puck directing the attention of George F. Hoar and other anti-expansionists Edward Atkinson, Carl Schurz, and Charles F. Adams who look on in disbelief.
Illus. in: Puck, v. 53, no. 1363 (1903 April 15), centerfold.
Copyright 1903 by Keppler & Schwarzmann.
The Louisiana Purchase Exposition, commonly known as the Saint Louis World's Fair of 1904, was the last great international exposition before World War I. The fair, built on a 1,200 acre site, included hundreds of thousands of objects, people, animals, displays, and publications from 62 exhibiting countries and 43 of the 45 states. The setting of world records, such as the largest organ, and working displays of every important technological advance were significant design goals. The Fair was a combination of trade show, civic showpiece, and monument to culture, along with more than a tinge of American pride. The Fair showcased the grandiose ambition of the gilded age, forming a kind of collective tribute to the nineteenth century's international understanding of the furtherance of peace, prosperity, and progress. It's a grand snapshot in time of American and foreign societies as they wished to portray themselves.
Alois Senefelder, the inventor of lithography, introduced the subject of colored lithography in 1818. Printers in other countries, such as France and England, were also started producing color prints. The first American chromolithograph—a portrait of Reverend F. W. P. Greenwood—was created by William Sharp in 1840. Chromolithographs became so popular in American culture that the era has been labeled as "chromo civilization". During the Victorian times, chromolithographs populated children's and fine arts publications, as well as advertising art, in trade cards, labels, and posters. They were also used for advertisements, popular prints, and medical or scientific books.
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