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The Painted PanoramaBy Bernard Comment
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Panoramas-immense paintings, often in the round-were enormously popular during the 19th century, both in Europe and in America. Illustrated with hundreds of colorplates, including seven large double gatefolds, Bernard Comment's incisive and detailed study traces the history of an unusual art form, placing these elaborate 360-degree paintings in a full historical, social, and cultural context.
Drawing on extensive research, Comment, a cultural critic, brings to life both the reality and the significance of painted panoramas: the artists (often collaborative teams whose goal was perfect illusionism), the installations (specially built rotundas and tents), the subjects (cityscapes, vistas, battles, and religious tableaus, among others), and the meanings (panoramas as propaganda, advertising, substitutes for experience, and forerunners of cinema) of these amazing works of art.
210 illustrations, 120 in full color, 7 double gatefolds, 10 3/4 x 8 5/8"
BERNARD COMMENT is the award-winning author of several books published in France, including a study of Roland Barthes.
- Sales Rank: #1265583 in Books
- Brand: Brand: Harry N. Abrams
- Published on: 2000-03-01
- Original language: English
- Number of items: 1
- Dimensions: 11.13" h x 1.00" w x 9.00" l,
- Binding: Hardcover
- 272 pages
- Used Book in Good Condition
From Library Journal
Before there was Titanic the movie or Phantom the musical, one of the great spectacles was the panorama. This art form, popular for a relatively brief period in the 19th century, saw large crowds turn out in cities across Europe and North America to view depictions of battles, great land- and cityscapes, and historic events in, most often, circular purpose-built structures. Many factors, including the cost of the paintings themselves as well as the rise of photography and eventually motion pictures, led to the death of the panorama. French writer Comment, in this excellent history of a mostly forgotten art form, traces the history of the panorama, describes audience reactions, and gives biographical sketches of many of the artists as well as a critical assessment of their work (when possible, as most of the panoramas themselves have been lost). A highlight of the book is the inclusion of the gatefold color illustrations of seven panoramas that give only the slightest hint of what the panorama experience must have been like. A fine complement to Stephan Oettermann's somewhat more academic The Panorama (LJ 1/98), this is an accessible introduction for informed lay readers.
-Martin R. Kalfatovic, Smithsonian Inst. Libs., Washington, DC
Copyright 2000 Reed Business Information, Inc.
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