“It was a vast circular representation of objects, where the eye reached to a horizon, and there being no limit, the illusion was complete” (Foucand 94).
A patent dated June 19th, 1787 is granted to Irish “portrait-painter” Robert Barker of the city of Edinburgh for an invention “called by him La Nature à Coup ď Œil, for the purpose of displaying Views of Nature at large, by Oil-painting, Fresco, Water-colours, Crayons, or any other Mode of painting or drawing.” Literally “The Nature of the Blow of the Eye,” the patent notes that “this invention has been since called the Panorama” (Barker 165). That Barker’s technique is not merely a new, page-bound perspective for two-dimensional markings but an interdisciplinary experience necessitating particular reception is apparent in his introductory sentence: “my invention…is intended, by drawing and painting, and a proper disposition of the whole, to perfect an entire view of any country or situation, as it appears to an observer turning quite round” (my italics; 165). The remainder of the document describes the proper construction of the building in which a panorama painting may be displayed, discussed in depth below.
An illusionary viewing technology that was highly popular in the nineteenth century...
Remediations: feature on digital camera (can't see all at once, must capture in sections like original),
hiss/ pops: the floor (fixed with false terrain [painting needs sculpture, interdisciplinary art]), patent (Robert Barker) states that an enclosure must force the viewer from getting too close, constructed viewpoint
projection used to create? difficult perspective- pencil attached to 15ft bamboo stick
forced a certain distance from image
stations of the cross- catholic churches
Pops and Hisses
floor and ceiling: painted?
frame: never feel below or underneath the picture
interdiscplinary: sculpture included
"shock" from nausea at being so high: sea sickness
functional nonsense: hats inside why need top covering? ceiling not necessary?
content: landscapes: charleston, battle scenes, Robert K. Porter
need circular room
what if from point that didn't exist? --perspective/scale is what makes effect --not just abstract art... needs to make sense
functional nonsense: going through dark corridor to get to viewing... intentionally shocking you
enter in middle of room
Digital cameras often enable a photographer to take multiple, successive snapshots of a landscape that may then be "stitched" together with computer software. While this language may come from any number of textile based synthesis procedures, Oettermann notes that weaving mills could not produce single canvases large enough for panorama painting, making it necessary "to sew together a number of strips approximately nine feet wide" (54). panning of camera in film
death because of film?
modern virtual reality- simulator sickness- not being able to determine
natural history museum animals
need bold lines
fifteen foot pencil
had to have many focal points vs typical one focal point
"the public is respectfully informed"
who can write? -only certain artists -whole team of anonymous painters
who can read? -inclusive democratic viewing -no vip section -two people could stand back to back and see same piece of art
la la la
See world as bourgeois see it
Trying to hide the frame- in the frame
Church with early fresca
Church thing is big
look at history of comm ish tribal light on wall
moby dick ocean crow's nest
hot air balloon from same time
dewey decimal system for library
root of evil panorama in house
trying to make real conform to your idea of what the real is
pattern of creating visual image
- Barker, Robert, “Specification of the Patent granted to Mr. Robert Barker…Called by Him ‘La Nature à Coup ď Œil,’” in The Repertory of Arts and Manufactures: Consisting of Original Communications, Specifications of Patent Inventions, and Selections of Useful Practical Papers from the Transactions of the Philosophical Societies of All Nations, &c . &c. Vol. 4. London: 1776, pp.165-167.
- Foucaud, Edward. “The Book of Illustrious Mechanics of Europe and America.” translated by John Frost. D. Appleton & Co., New York: 1847.