The Panorama

Couverture
Reaktion Books, 2002 - 272 pages
1 Commentaire
Invented in 1788, the panorama reached the height of its popularity at the time of the 1900 Universal Exhibition. Vast circular canvases installed in purpose-built rotundas were designed to be viewed from centrally placed platforms and attracted an admiring public. The aim was to produce a perfect illusion. Thus the relationship between viewer and 'reality' underwent a profound mutation, opening up a new logic according to which the world was transformed into a spectacle and images substituted for direct experience.

This lavishly illustrated book examines the wide variety of panoramas in both the Old and New Worlds. Included among views of cities are Robert Barker's View of Edinburgh and Karl Friedrich Schinkel's View of Palermo, as well as depiction of Paris, Moscow, Jerusalem and Lima; among historical themes, The History of the Century and Battle of Moscow proved especially popular. The author expands his subject to encompass the sister formats of diorama and cineorama.
 

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Table des matières

Introduction
7
THE PURSUIT OF MAXIMUM ILLUSION
21
From Leicester Square to the Colosseum
23
From Prevost to Langlois
29
Panoramas of Germany Switzerland and the United States before 1870
51
From the Diorama to the Moving Panorama
57
The Great Exhibitions
66
Prefigurations
77
Experience Replaced
130
Compensation and Control
134
Panoramism and Panopticism
139
PANORAMAS IN DETAIL
147
Views Including Rotundas
149
Crosssections Elevations Orientation Plans and Advertisements
161
Evolution and Variations
166
Panoramic Canvases Drawings Studies and Prints
182

The Ideal Landscape
84
A Theory of the Frame
97
The Limits of Illusion
104
From NearFrom Far Away
110
What Public?
115
A Genealogy of the Panorama
257
Select Bibliography
260
Photographic Acknowledgements
266
Index
267
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À propos de l'auteur (2002)

Bernard Comment, born in Switzerland, lives and works in Paris. He is the author of L'ombre de memoire (1990), Roland Barthes, vers le neutre (1991) and Allees et venues (1992), which won the Prix Antigone in 1993.

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