Re: Panoramania issue

[Les Newcomer <lnphoto@xxxxxxxx>]

I did a searc for this yesterday on Bookfinder and found three ranging
form $40 to $70 

Les

Jim Dunn wrote:
> 
> >
> > I would certainly enjoy seeing a synopsis of the original
> > invention though.
> > Could you post it?
> >
> >
> 
> In the spirit of encouraging people to try and obtain (i.e. buy) a copy of this
> excellent book on the history of all types of panoramic images (not just
> photographic), I include a the first two paragraphs from the introduction by
> Scott B. Wilcox, remember the book dates from the late 1980's so has nothing
> about digital pans.
> 
> Please respect the copyright and only use this text for reference.
> 
> Jim Dunn
> ........................................................................
> 
> PANORAMANIA by Ralph Hyde (Exhibition Selector, Keeper of Prints, Guildhall
> Library)
> 
> UNLIMITING THE BOUNDS OF PAINTING (Introduction)
> BY SCOTT B. WILCOX (Curator, Yale Center for British Art, USA)
> 
> On 14 March 1789, 'MR BARKER'S INTERESTING and NOVEL VIEW of the CITY and CASTLE
> of EDINBURGH, and the whole adjacent and surrounding country' opened in London.
> The novelty of the view was that it comprised a full 360°. Standing at the
> centre of a huge cylinder, the spectator was completely surrounded by the view
> painted on the inside of the cylinder. Robert Barker, an Irish-born artist
> working in Edinburgh, had devised this form of painting several years earlier.
> The picture of the Scottish capital, his first large-scale attempt to put the
> idea into practice, had already achieved success in Edinburgh and Glasgow.
> 
> The view of Edinburgh was the first of a prodigious series of such paintings,
> for which Barker two years later coined the name 'panorama'. In 1793 he opened a
> permanent establishment for the exhibition of his panoramas in London - an
> establishment that continued in operation for seventy years. Other pictorial
> entertainment's, either based on Barker's principle, or on other related
> schemes, proliferated, early in the nineteenth century to become a considerable
> attraction in the English capital. The popularity of the panoramas was
> restricted neither to London nor to Britain, but was a truly international
> phenomenon. As early as 1795 there was a panorama on exhibition in New York, and
> by 1800 they had been seen in Paris and several German cities. Throughout the
> nineteenth century the various forms of the circular panorama, the diorama, and
> the moving panorama drifted in and out of fashion. In the later years of the
> century, when the original circular form enjoyed a dramatic revival, not only
> Europe and America but Australia, Brazil, Korea and Japan boasted panorama
> rotundas.
> 
> Copyright, Barbican Art Gallery, Corporation of the City of London 1988
> 
> ISBN 0 86294 125 3
> 
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