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Panoramic paintings during the Romantic Era captured all 360 degrees of a scene.〔 Typically shown in rotundas for viewing, panoramas were meant to be so lifelike they confused the spectator between what was real and what was image.〔 ==Creation of the Panorama== Robert Barker conceived the concept of the panorama in 1787.〔Comment, Bernard. ''The Painted Panorama.'' New York: Harry N. Abrams, Inc, 1999.〕 While walking on a hill overlooking Edinburgh, the idea struck him and he obtained a patent for it the same year.〔 Barker’s vision was to capture the magnificence of a scene from every angle so as to immerse the spectator completely, and in so doing, blur the line where art stopped and reality began.〔 Barker’s first panorama was of Edinburgh.〔 He exhibited the ''Panorama of Edinburgh'' in his house in 1788, but to little success.〔 The first panorama disappointed Barker, not because of its lack of success, but because it fell short of his vision.〔 The Edinburgh scene was not a full 360 degrees; it was semi-circular.〔 After the limited success of his first panorama, Barker and his son Henry Aston Barker completed a panorama of London from the Albion Mills.〔 A reduced version was originally shown in their house with a larger one on display later.〔 To fulfill his dream of a 360 panorama, Barker and his son purchased a rotunda at Leicester Square.〔 ''London from the Roof of the Albion Mills'' christened the new rotunda, all 250 square meters of it.〔 The previously reduced version, in contrast, measured only 137 square meters.〔 The rotunda at Leicester Square was composed of two levels, although they varied in size.〔 Spectators observed the scenes from a platform in the center of the rotunda.〔Thomas, Sophie. "Making Visible: The Diorama, the Double and the (Gothic) subject." ''Gothic Technologies: Visuality in the Romantic Era.'' Ed. Robert Miles. 2005. Praxis Series. 31 January 2010. http://romantic.arhu.umd.edu/praxis/gothic/thomas/thomas.html.〕 The main goal of the panorama was to immerse the audience to the point where they could not tell the difference between the canvas and reality, in other words, wholeness.〔 To accomplish this, all borders of the canvas had to be concealed.〔 Props were also strategically positioned in the foreground of the scene to increase realism.〔 Two windows laid into the roof allowed natural light to flood the canvases, also making the illusion more realistic.〔 Two scenes could be exhibited at the rotunda in Leicester Square simultaneously, however the rotunda at Leicester Square was the only rotunda to house two panoramas. Houses with single scenes proved more popular.〔 While at Leicester Square, the audience was herded down a long, dark corridor to clear their minds.〔 The idea was to have spectators more or less forget what they just saw, leaving their minds blank to view the second scene.〔 Despite the audience’s “mind blanking” walk in the dark, panoramas were designed to have a lingering effect upon the viewer.〔 For some, this attribute placed panoramas in the same category as propaganda of the period: no more than an illusion meant to deceive.〔 The panorama evolved somewhat and in 1809, the moving panorama graced the stage in Edinburgh.〔Wilcox, Scott. (Panorama ) ''Grove Art Online.'' Oxford Art Online. 9 February 2010.〕 Unlike its predecessor, the moving panorama required a large canvas and two vertical rollers.〔 The scene or variation of scenes passed before the audience between the rollers, eliminating the need to showcase and view the panoramas in a rotunda.〔 Peter Marshall added the twist to Barker’s original creation, which saw success throughout the 19th and into the 20th century.〔 Despite the success of the moving panorama, Barker’s original vision maintained popularity through various artists, including Pierre Prévost, Charles Langlois and Henri Félix Emmanuel Philippoteaux among others.〔 The revival in popularity for the panorama peaked in the 1880s, having spread through Europe and North America.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Panorama (art)」の詳細全文を読む スポンサード リンク
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