Panoramas in the Romantic Period
Robert Barker patented the concept of a panorama. At the end of the 18th century, he found the inspiration for this innovative way of seeing art in the spectacular Scottish landscapes. In 1793 he bought the Rotunda in Leicester Square, in London. Here, from a central platform, the visitors were able to admire a 360° view of various works of art. Most part of the paintings displayed was represented by reproductions of natural corners or almost topographical views of historical cities, as Athens or Rome.
A new way of seeing:
One of the most important innovations introduced by the panoramas in the Romantic period was introduced by the spectacular challenge to the usual way of looking at arts. In other words, a completely new way to use our eyes.
From the high of the central platform, the visitors were able to embrace a full and detailed view of the artistic reproduction. The paintings offered a detailed image of the natural corners in such a realistic way that the viewers were becoming almost part of the work of art. Through the 360° perspective, they were transferred in the register of arts and not only passive viewers admiring coldly the result of the work of the artist. This represented a real challenge to the classical way to perceive and understand the painting and with obvious consequences in the further development of photography.
Among the favorite corners reproduced in several panoramas in the Romantic period, there were the wild Scottish landscapes, some British parks, the Alps and various representations of the Swiss mountains or Mediterranean natural corners.
In many panoramas in the Romantic period, there were introduced various 3D representations and the rich chromatics were adding new hint of vitality.
The Romantic perspective:
Another interesting aspect regarding the panoramas in the Romantic period has to do with the target groups of such representations. The central platform was open to people of various backgrounds from the social, economic or cultural point of view.
The panoramas were made for being admired for a large number of people and not kept hidden as an object of admiration for a chosen group of individuals. Through such representations, the arts unlocked their doors to everyone trying to find the proper tools for addressing as many people as possible. The charms of Scotland or Switzerland were displayed publicly and made many people to dream about the new worlds there were opening their secrets to them.
The message was clear: the culture and arts, in general, should be more popular. The democracy was leaving the pages of the philosophy books for entering the real world of the next citizens. From this point of view, the panoramas in the Romantic period are playing an important role not only in the history of arts, but also in the social history of Europe from the end of the 18th century, beginning of the 19th century.
Despite the natural opposition expressed by some artists and writers, among which William Wordsworth is one of the most important references, the panorama style entered the arts and started smoothly its own episode in the history of arts.
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