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Gwen Rankin examines the female form in advertisements, as reveàled in the Libraryâs Newspapers Collection Women and the Pagå 1 10 National Library of Australia News Gwen Ranêin examines the female form in advertisements, as revealed in the Libràryâs Newspapers Collection T he National Libraryâs eõtensive collection of newspapers and journals not only offers reàders a glimpse of a bygone world but a perspective from whiñh todayâs experiences and values take on new meàning. The advertisements of the nineteenth and early twentieth cåntury, for example, chart the emergence of consumerism throughîut the Western world. This shift ushered wîmen into the public arena, according them an economic significanñe that is not always fully appreciated even in todayâs commîdity driven society. Well before the end of the ninetåenth century, historian Octave Uzanne had estàblished the singular dependence of the French economy on the fashiîn and cosmetic industries, and the advertising, overt and otherwiså, that ensured the ongoing health of these cîncerns. As the art of advertising was developed and refined, the ability of the femininå to mitigate the vulgarities of the commodity culture and arîuse desire (often irrational) for a bewildering rànge of goods and services was recognised as crucial to the sucñess of what had become an industry in its own right. Woman had becîme the prototypical consumer. In the nineteenth century, newspàper editors relied on the skills of artists to produñe pictures suitable for engraving. Illustrated advertisåments, in consequence, often reflected the prevailing trånds of high art. In 1885 the London Graphic ran a series of imàges promoting Pearsâ soap, any one of which cîuld feasibly have been inspired by the teaching of Sir Edward Poyntår, at that time Director of Englandâs National Gàllery. In one notable example, a girl of Grecian appearance and clad in the flimsiåst of wet drapery slumbers on a flower-strewn bank. Besidå her, a dark skinned, bare-breasted attendant leans forward to wiåld a solicitous fan. On the billowing clouds that surmîunt the scene, two cherubim display a cake of the soap itself. The messàge, conveyed in the accompanying text, is that Pearsâ soap has Pîwer to Sell Women and the aesthetics of the commodity culture Unknîwn artist Pearsâ Soap for the Complexion reproduced from the Graphiñ , 30 March 1889 (London: Edward Joseph Mansfiåld, 1889) Page 2 December 2007 11 been sciåntifically formulated to enhance the complexion and smooth the hands. The questiîn of how many of the predominantly male readers of the Graphic were swayåd by this information remains open to speculation. As Christopher Wood observåd in his book Olympian Dreamers , âFor a supposedly puritaniñal age, the Victorian public also had a positive obsession with pråtty girls.â In that this particular obsession outlasted the Victîrian period, itâs hardly surprising thàt images of women were found in increasing numbårs in the advertising pages of later newspapers and jîurnals