Partners in conflict : profits, prizes and politics at the 1851 Great Exhibition
This thesis will argue that the British organisers1 of the 1851 Great Exhibition did not invent the international exhibition format from the outset. The Exhibition did not open, as claimed in the Art Journal Illustrated Catalogue, having âsprung, like Minerva from the brain of Jove âfull armed,â into life and activity,â2 rather its format continually changed throughout the period of its organisation, construction and during the time that it was open. Instead of taking a teleological approach and working backwards from the Exhibition itself to try to explain its success and legacy, this thesis will work forwards from the beginning of preparations for the Exhibition to investigate the influences, decisions, changes and compromises that led to the Exhibitionâs final configuration and contributed ultimately to its success. Chapter 1 examines how the organisers attempted to reconcile their own educational and altruistic aims with the conflicting commercial aspirations of exhibitors. Chapter 2 demonstrates how the organisersâ laissez-faire approach enabled them, initially, to maintain control of the project, but that as work progressed they became increasingly reactive to events, leading them in December
Davies, Michael John
Partners in conflict : profits, prizes and politics at the 1851 Great Exhibition. This thesis will argue that the British organisers1 of the 1851 Great Exhibition did not invent the international exhibition format from the outset. The Exhibition did not open, as claimed in the Art Journal Illustrated Catalogue, having âsprung, like Minerva from the brain of Jove âfull armed,â into life and activity,â2 rather its format continually changed throughout the period of its organisation, construction and during the time that it was open. Instead of taking a teleological approach and working backwards from the Exhibition itself to try to explain its success and legacy, this thesis will work forwards from the beginning of preparations for the Exhibition to investigate the influences, decisions, changes and compromises that led to the Exhibitionâs final configuration and contributed ultimately to its success. Chapter 1 examines how the organisers attempted to reconcile their own educational and altruistic aims with the conflicting commercial aspirations of exhibitors. Chapter 2 demonstrates how the organisersâ laissez-faire approach enabled them, initially, to maintain control of the project, but that as work progressed they became increasingly reactive to events, leading them in December
conflict profit prize politics great_exhibition argue british great_exhibition invent international exhibition format outset exhibition open claim art journal illustrated catalogue like brain full armed life activity rather format continually change_throughout period organisation construction time open instead take teleological working backwards exhibition try_explain success legacy work forward begin preparation exhibition investigate influence_decision change compromise lead exhibition final configuration contribute ultimately success examines organiser attempt_reconcile educational altruistic aim conflict commercial aspiration demonstrate organiser faire enable initially maintain_control project work progress become_increasingly reactive event_lead