22Nd International Panorama Conference Lucerne, Switzerland, November 22-25, 2013

Total Page:16

File Type:pdf, Size:1020Kb

22Nd International Panorama Conference Lucerne, Switzerland, November 22-25, 2013 22nd International Panorama Conference Lucerne, Switzerland, November 22-25, 2013 Title Author Abstract Biographical notes Restoration and re- Patrick Deicher M.A. Bourbaki Panorama underwent a major Patrick Deicher is a historian and an valuation of Bourbaki restoration campaign in between 1996 economist. He works as a consultant in Former Curator of Bourbaki Panorama Lucerne and 2008. The campaign enclosed public management. He is head of the Panorama Lucerne/ between 1996 and 2008 construction works on the historical competence centre for not-for-profit- Switzerland panorama rotunda, an addition by a organisations with BDO Ltd. Member of the Board of the newly built structure and the restoration (Switzerland). Foundation of Panorama of the painting and faux-terrain. From 2000 to 2007 he worked as curator Altoetting, Germany of Bourbaki Panorama, Switzerland. From [email protected] 2003 to 2013 he acted as the Secretary- General with IPC. Since 2011 he is a member of the Board of the foundation of Panorama Altoetting, Germany. Exhibiting (and thus Dr. phil. Andreas Bürgi Industrial quarters came into existence in Dr. Andreas Bürgi studied German, Selling) Switzerland – many Swiss cities in the 19th century. Philosophy and History of Art in Zurich University of Lucerne - "Tourist Strip" of Their equivalent in Lucerne is the and Berlin. He completed his doctorate Associated Researcher/ Lucerne Tourismusmeile, literally the "tourism with a thesis on German-language travel Switzerland mile" with its Lion Monument (1821), reportage in the 18th century, and [email protected] Glacier Gardens (1873), Bourbaki subsequently worked on several SNSF Panorama (1889), Alpineum Museum research projects: co-editor of the (1901, previously Meyer’s Diorama from complete works of Ulrich Bräker; project 1856 onwards), and Stauffer’s Museum of leader and editor of the project "Franz stuffed Swiss animals (1859–1888); in Ludwig Pfyffers ’Relief der Urschweiz’" 1902 opened the "Internationales Kriegs- (Franz Ludwig Pfyffer’s ’Relief of Central und Friedensmuseum" (International Switzerland’); final editing of an edition of Museum of War and Peace). This district Julie Bondeli’s letters. provides Lucerne with a unique urban Main research interests: Switzerland in feature. No other towns or cities in the 18th century, the history of spatial Switzerland or in the Alpine region have a perception, the history of surveying, the specific district like this, with such a history of travel and the travel literature densely packed selection of specially of the 18th century, Ulrich Bräker, created tourist attractions. Construction editorial theory. and expansion of the Tourism Mile was only possible with modern financing models, the latest technology, 1 established tourism infrastructures and media processes and content that appealed to the tastes of a broad public. The paper presents the institutions of the Lucerne Tourismusmeile and shows the broad techniques and strategies of "exhibiting (and thus selling) Switzerland". The new Thun Panorama Sara Smidt MAS The Thun Panorama originated 200 years Project manager for the new permanent ago, making it the world's oldest show, Thun Panorama Art Museum of Thun, Thun- preserved cyclorama. However, this Panorama/ Switzerland Responsible Learning Department Art superlative alone doesn't suffice and care Museum Thun and Panorama since 2005 [email protected] must always be taken to make updates so that a visit remains attractive. Both www.kunstmuseumthun.ch the residents of the Thun region as well as tourists from abroad or Switzerland expect a topical welcome to the idyllic President of mediamus, Schweizerischer picture that shows the panorama of the Verband der Fachleute für Bildung und town at 9.15 one morning. Thus, the Vermittlung im Museum (Swiss currently closed house will open in the Association for Professionals in Education spring of 2014 with a new extension and Teaching at the Museum) undertaken by the architects Graber & Museum consulting in the context of the Steiger based at Lucerne. An open-studio company, www.museumsberatung.ch restoration and a small exhibition all about the architecture will characterize Education: Studied art history, museum the first season. A permanent exhibition and exhibition didactics course in Vienna, on the background of Marquard Wocher's and postgraduate degree in marketing cyclorama opens in 2015 and some and business management artists' projects are scheduled. We do our best to involve the public with projects that enhance its appeal and identification with the townscape. The office identifies long-term challenges and outlines approaches as to how the panorama can stay up to date. 2 Jerusalem visualized, Sylvia Alting van Geusau M.A. In 1891 a double semi-circular panorama Sylvia Alting van Geusau, holds a spectacular pilgrimage was on display at the panorama building Masterdegree in Art Studies where she Independent Researcher/ in Amsterdam. specialized on Panoramas in Amsterdam. Netherlands One side depicted the carying of the cross She is currently preparing a PhD on the [email protected] and the other the crucifixion of Jesus. theatricality of individual exhibited painted spectacles. The panorama was painted by Antonius Brouwer with help of the German specialists Jozef Krüger and Karl Hubert Fosch and the Belgian painter Edmond van Hove. In 1909 the panorama went to auction and experienced an exciting adventure. In the rather protestant city of Amsterdam a spectacular depiction of Christ was however slightly unusual. In this presentation I focus on the emergence of this panorama and other Christian spectacles in protestant Amsterdam. It takes a large city to Suzanne Wray “It takes a large city to make it pay” said Suzanne Wray lives and works in New make it pay a representative of the Belgian Panorama York City. Her research on panoramas Independent Researcher/ USA Company before they opened their and related “optical entertainments” has [email protected] panorama in New York City. Even in a been presented at conferences of the large city, panorama promoters and International Panorama Council and the managers had to work hard to attract the Magic Lantern Society, at the Coney public: in addition to constant Island Museum, and the “Panoramas in advertising, they offered inducements Motion” symposium in Saco, Maine. Her and novelties to attract viewers, and to research has been published in the Magic tempt them to see the panorama more Lantern Gazette, and the Society for than once. Railroad excursions were a Industrial Archeology newsletter. popular means to bring viewers from nearby areas to panoramas in larger cities. This presentation will discuss some of the ways in which panoramas were marketed, with special attention given to the ways in which the owners of the panoramas in Buffalo, NY attracted viewers. 3 The London to Hong David Brill London to China in Two Hours c 1860 David Brill Kong Panorama by John Owner of the Lamb Panorama By John Lamb Primus (1799-1875) and (Poynton, UK) born 1948 Lamb Primus and John London to China in Two Hours/ John Lamb Secundus (1839-1909) Lamb Secundus Landscape painter and origami artist. United Kingdom This panorama takes the viewer on a Author Brilliant Origami (1996) [email protected] journey from London to China by ship, Exhibited at the Royal Academy Summer train and on foot through France, across exhibition London (1990, 1993): origami the Mediterranean to Israel, Egypt and work has been shown in Tokyo, New Aden. We cross the Indian Ocean to Hong York, San Diego, Tel Aviv, Mumbai, Kong via Ceylon and Singapore. Freising Germany and Reykjavik. The artists (my great-great grandfather and great grandfather) never made the complete journey themselves, but obtained many images from contemporary literature. Originally for family and friends only, the panorama was more recently shown in Panoramania (Barbican art gallery London 1988), and in Sehsucht (Kunst und Ausstellungshalle Bonn 1993). Painted in watercolor on paper with backlit effects of a mirage, stars and a rainbow, it is 53 meters long, and has been lodged at the Museum of London since 1983. Recently enhanced images viewed with modern technology, along with the original narrative written by the artists, allow us to experience the panorama in a new light. The Raclawice Panorama Ryszard Wójtowicz M.A. The Raclawice Panorama painted by Romuald Nowak, art historian; manager - tourist attraction of Wojciech Kossak and Jan Styka from of the Racławice Panorama, Wrocław, Conservator of Monuments/ former Lviv and Wrocław August 1893 to May 1894, was created Poland – branch of the National Museum, Poland today by 72 shareholders , who passed for this Wrocław. Currently, he is also curator of [email protected] purpose 93,000 gold florins. The the baroque sculpture’s collection in the investment is returned within the first same Museum. months. Monument has been damaged Ryszard Wójtowicz, conservator and seriously during second World War. The restorer of Monuments. He has received re- exposure to the huge canvas waited acknowledgement for being the premier almost 40 years. And finally, the uprising world expert in the conservation and of Solidarity in August 1980 decided to restoration of the Cyclorama art form. He 4 maintain the canvas and exposing it in received an awarded by Minister of Wroclaw. Since the year 1985 up to now Culture and Art and Prime Minister, 1st. more than 8 million tourists visited this class, for conservation works carried out one of the biggest attraction of our town on the Racławice Panorama as well as Wrocław. Panorama was visited annually being honored by the President of by more than 500 000 spectators, Hungary of Grand Cross, for conservation including crowned heads and pope John works carried out on the Feszty Paul II. Panorama is important for the Panorama, in Hungary. Co-leader of the region of Lower Silesia as well and Gettysburg Cyclorama conservation in PA, contribute to their development as tourist USA. places of interest. With millions of tourists develops catering, accommodation and travel.
Recommended publications
  • Henryk Siemiradzki and the International Artistic Milieu
    ACCADEMIA POL ACCA DELLE SCIENZE DELLE SCIENZE POL ACCA ACCADEMIA BIBLIOTECA E CENTRO DI STUDI A ROMA E CENTRO BIBLIOTECA ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU FRANCESCO TOMMASINI, L’ITALIA E LA RINASCITA E LA RINASCITA L’ITALIA TOMMASINI, FRANCESCO IN ROME DELLA INDIPENDENTE POLONIA A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK CONFERENZE 145 ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA ISSN 0239-8605 ROMA 2020 ISBN 978-83-956575-5-9 CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME ACCADEMIA POLACCA DELLE SCIENZE BIBLIOTECA E CENTRO DI STUDI A ROMA CONFERENZE 145 HENRYK SIEMIRADZKI AND THE INTERNATIONAL ARTISTIC MILIEU IN ROME A CURA DI MARIA NITKA AGNIESZKA KLUCZEWSKA-WÓJCIK. ROMA 2020 Pubblicato da AccademiaPolacca delle Scienze Bibliotecae Centro di Studi aRoma vicolo Doria, 2 (Palazzo Doria) 00187 Roma tel. +39 066792170 e-mail: [email protected] www.rzym.pan.pl Il convegno ideato dal Polish Institute of World Art Studies (Polski Instytut Studiów nad Sztuką Świata) nell’ambito del programma del Ministero della Scienza e dell’Istruzione Superiore della Repubblica di Polonia (Polish Ministry of Science and Higher Education) “Narodowy Program Rozwoju Humanistyki” (National Programme for the Develop- ment of Humanities) - “Henryk Siemiradzki: Catalogue Raisonné of the Paintings” (“Tradition 1 a”, no. 0504/ nprh4/h1a/83/2015). Il convegno è stato organizzato con il supporto ed il contributo del National Institute of Polish Cultural Heritage POLONIKA (Narodowy Instytut Polskiego Dziedzictwa Kul- turowego za Granicą POLONIKA). Redazione: Maria Nitka, Agnieszka Kluczewska-Wójcik Recensione: Prof.
    [Show full text]
  • Peasant Identity and Class Relations in the Art of Stanisław Wyspiański*
    28 PEASANT IDENTITY AND CLASS RELATIONS Peasant Identity and Class Relations in the Art of Stanisław Wyspiański* by Weronika Malek-Lubawski Stanisław Wyspiański (1869–1907) was a painter, playwright, and leader of the Young Poland movement of artists who merged the national tradition of history painting with Symbolist visions and elements of Art Nouveau.1 He frequently tackled the theme of Polish class relations in his works, and he was so appreciated during his lifetime that the funeral after his premature death from syphilis turned into a national memorial parade.2 Wyspiańs- ki’s reputation persists into the twenty-first century in Poland, where high school students read his famous drama Wesele [The Wedding] (1901) as part of their general education curriculum, but he is not widely known outside his home country.3 This essay examines The Wedding and Wyspiański’s pastel, Self-Portrait with the Artist’s Wife (1904), in relation to nineteenth-cen- tury Polish sociohistorical discourse on class identity and Wyspiański’s own interclass marriage (Fig. 1). Inspired by the real-life nuptials of Wyspiański’s acquaintance, The Wedding narrates the union of an upper-class poet and a peasant woman in a ceremony that later becomes the stage for supernatu- ral events and patriotic ambitions. Self-Portrait with the Artist’s Wife depicts Wyspiański, an upper-class member of the intelligentsia, and his spouse, a peasant and former domestic servant, wearing costumes that deliberately confuse their class identities. One of Wyspiański's best-known works, it is also his only double portrait in which the artist himself appears.
    [Show full text]
  • The History of the Decline and Fall of the Roman Empire, Vol. 3 [1776]
    The Online Library of Liberty A Project Of Liberty Fund, Inc. Edward Gibbon, The History of the Decline and Fall of the Roman Empire, vol. 3 [1776] The Online Library Of Liberty This E-Book (PDF format) is published by Liberty Fund, Inc., a private, non-profit, educational foundation established in 1960 to encourage study of the ideal of a society of free and responsible individuals. 2010 was the 50th anniversary year of the founding of Liberty Fund. It is part of the Online Library of Liberty web site http://oll.libertyfund.org, which was established in 2004 in order to further the educational goals of Liberty Fund, Inc. To find out more about the author or title, to use the site's powerful search engine, to see other titles in other formats (HTML, facsimile PDF), or to make use of the hundreds of essays, educational aids, and study guides, please visit the OLL web site. This title is also part of the Portable Library of Liberty DVD which contains over 1,000 books and quotes about liberty and power, and is available free of charge upon request. The cuneiform inscription that appears in the logo and serves as a design element in all Liberty Fund books and web sites is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 B.C. in the Sumerian city-state of Lagash, in present day Iraq. To find out more about Liberty Fund, Inc., or the Online Library of Liberty Project, please contact the Director at [email protected].
    [Show full text]
  • Hollywood Panorama
    Hollywood Panorama Karen Pinkus On a rundown strip of Hollywood Open limited hours for a small its interim use as a travel agency, Boulevard, at the confluence of two suggested donation, it bore an when Velas moved in, a worn sign neighborhoods recently baptized uncanny resemblance to those (prin- with a golden crown still enticed Thai Town and Little Armenia, the cipally European) nineteenth-century passing drivers to stop for pizza and artist Sara Velas rented an abandoned structures that housed a succession ice cream. fast-food stand with a domed ceiling of proto-cinematic spectacles. The As an icon of local “exotica,” the in 2001, and painted a 360-degree rhetoric, typography and imagery Rotunda had long served as a land- panorama titled Valley of the Smokes. adapted by Velas also referred to mark for motorists. Yet, despite its For about three years, until 2004 this strangely “democratic” period visual prominence, its milieu typified when she lost her lease to a proposed of peepshows, magic lanterns, zoe- the largely bypassed nature of East redevelopment, the “Velaslavasay tropes, and other visual marvels. Hollywood. Adjacent land was par- Panorama” stood as a found object in The building that accommodated tially filled with weeds and rusted car the landscape of Hollywood. Velas’s Panorama, the former South parts. A prop rental agency—Jose’s Seas-themed Tswuun-Tswuun Art Yard—occupied another part of Rotunda, provided an unusual com- the property, displaying Aztec gods plement. Built in 1968 in the exuber- and Rococo fountains cast in plaster. Above: The former site of the Velaslavasay Panorama ant Googie style, it was roofed with Behind was a rather down-and-out at 5553 Hollywood Boulevard.
    [Show full text]
  • Jan Styka Jako Ilustrator Dzieł Henryka Sienkiewicza
    Małgorzata Gorzelak Jan Styka jako ilustrator dzieł Henryka Sienkiewicza Rocznik Muzeum Narodowego w Kielcach 23, 347-368 2007 Rocznik Muzeum Narodowego w Kielcach Tom 23, Kielce 2007 MAŁGORZATA GORZELAK JAN STYKA JAKO ILUSTRATOR DZIEŁ HENRYKA SIENKIEWICZA Jan Styka jako pierwszy z artystów polskich zilustrował pełny tekst Quo vadis Henryka Sienkiewicza, a jego twórczość związana z tą powieścią była szczególnie obfita. W ciągu wielu lat pracy artysta wykonał ponad 200 rysun­ ków i malowideł en grisaille (do wydawnictwa Flammariona) oraz kilkanaście barwnych obrazów olejnych. Do kręgu zbliżonych tematycznie przedstawień należy także jego panorama Męczeństwo chrześcijan w cyrku Nerona oraz ilu­ stracje do noweli Pójdźmy za Nim! Jan Styka (1858-1925) malował obrazy historyczne, religijne, portrety i sceny batalistyczne. Najbardziej znany był jako twórca ogromnych rozmiarów panoram historycznych i religijnych. Artysta urodził się we Lwowie. Od 1877 roku studio­ wał w wiedeńskiej Akademii Sztuk Pięknych, a następnie (w latach 1882-1885) w krakowskiej Szkole Sztuk Pięknych. Według wspomnień Styki, stosunek, jaki łączył go wówczas z Matejką był nieco odmienny od tego, w jakim zwykle uczniowie szkoły krakowskiej z nim pozostawali. Ja już byłem malarzem, który ukończył Akademię i Meisterschule wiedeńską, który miał Rzym za sobą i szereg płócien. Dlatego Matejko mi nigdy zdania swego nie narzucał, ale raczej w koleżeński sposób dawał rady (...) Przez czas pobytu mego u Matejki nie miałem żadnej walki o byt. Matejko dawał mi stypendia, pożyczał kostiumy, makaty, gobeliny1. Jednocześnie Matejko był dla Styki ogromnym autorytetem: Zdawało mi się zawsze, że nad nim wisiała korona Króla Ducha, że w tej epoce jest on pomazańcem narodu. Czułem majestat jego i szczęśliwy byłem będąc przy nim2.
    [Show full text]
  • A 'Proper Point of View'
    A ‘Proper Point of View’: the panorama and some of its early media iterations Early Popular Visual Culture, 9:3, 225-238 (2011) William Uricchio MIT & Utrecht University Abstract: The panorama entered the world not as a visual format but as a claim: to lure viewers into seeing in a particular way. Robert Barker’s 1781 patent for a 360-degree painting emphasized the construction of a ‘proper point of view’ as a means of making the viewer ‘feel as if really on the spot.’ This situating strategy would, over the following centuries, take many forms, both within the world of the painted panorama and its photographic, magic lantern, and cinematic counterparts. This essay charts some of the unexpected twists and turns of this strategy, exploring among others the moving panorama (both as a parallel development to the cinematic moving picture and as deployed by the film medium as a background to suggest movement) and the relations between the spatial promise of the late 19th century stereoscope and that most populous of early motion picture titles, the panorama. The essay focuses on changing technologies and strategies for achieving Barker’s initial goals, while attending to the implications for the viewer. Drawing from the observations of scholars as diverse as Bentham, Foucault, and Crary, the essay uses the various iterations of the panorama to explore the implications of a particularly rich strand of technologies of seeing. William Uricchio is professor and director of Comparative Media Studies at MIT and professor of Comparative Media History at Utrecht University in the Netherlands. 1 A ‘Proper Point of View’: the panorama and some of its early media iterations1 Early Popular Visual Culture, 9:3, 225-238 (2011) http://dx.doi.org/10.1080/17460654.2011.601165 William Uricchio MIT & Utrecht University 'I don't have eyes in the back of my head….' is a well known expression.
    [Show full text]
  • Panorama Paintings in the 1840S of the Mormon Temple in Nauvoo
    BYU Studies Quarterly Volume 22 Issue 2 Article 5 4-1-1982 Panorama Paintings in the 1840s of the Mormon Temple in Nauvoo Joseph Earl Arrington Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Arrington, Joseph Earl (1982) "Panorama Paintings in the 1840s of the Mormon Temple in Nauvoo," BYU Studies Quarterly: Vol. 22 : Iss. 2 , Article 5. Available at: https://scholarsarchive.byu.edu/byusq/vol22/iss2/5 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Arrington: Panorama Paintings in the 1840s of the Mormon Temple in Nauvoo panorama paintings in the 1840s of the mormon temple in nauvoo joseph earl arrington the national movement of panorama painting in mid nineteenth century america yielded a number of important paintings of the mormon city of nauvoo and its temple there were four major artists who created mississippi river panoramas before 1850 john rowson smith samuel B stockwell leon de Pompomaredearede and henry lewis each of these men painted the upper river where nauvoo is located including scenes of the city and of the mormon temple in their panoramas these were literally moving panoramas the painted canvas was unrolled from one cylinder and rerolled onto another across a stage these panoramas were produced and taken to the people by traveling
    [Show full text]
  • Kosciuszko Foundation T H E a M E R I C a N C E N T Er of Polish C U L T U R E
    kosciuszko foundation T H E A M E R I C A N C EN T ER OF POLISH C UL T URE NEWSLETTER Spring 2011 Volume LXI, No. 1 th ISSN 1081-2776 76 Inside... The Kosciuszko Annual Dinner 2 Foundation Stands Up for Polonia & Ball Polish Senate Hosts Kosciuszko 4 Foundation Exhibit in Warsaw SAturday, Cardinal Karol Wojtyła at the April 30th 6 Kosciuszko Foundation The Kosciuszko Foundation 7 76th Anniversary Dinner and Ball The Paintings of 8 Krystyna Brzechwa Exchange 10 Fellowships and Grants Scholarships Last Chance to Buy 13 and Grants for Americans Tickets to Ball & Take 17 The Year Abroad Program in Poland Ad Congratulating 17 Graduate Studies and Research in Poland the KF. Summer Sessions 18 Awards Giving to the Come MeetK! 19 Kosciuszko April 30, 2011 Foundation Coach 20 Calendar of Events For more information, call 212-734-2130 THE KOSCIUSZKO FOUNDatION StaNDS UP FOR POLONIA, BUT WE NEED YOUR HELP By Alex Storozynski A recent survey by Newsweek found that 40 percent of Americans do not know which countries the United States fought during World War II. It’s no wonder given that the media often refers to Auschwitz as a “Polish concentration camp,” which is a rewrite of history. That is why I posted a petition on The Kosciuszko Foundation website asking newspapers to change their style guides to avoid using this historically erroneous phrase. It confuses undereducated readers, leading them to believe that the Holocaust was executed by Poland, rather than Nazi Germany. My sincerest thanks to all of you who signed the petition.
    [Show full text]
  • NATIONAI^W^Pfffy Mkrk, PA
    A ••• I f NATIONAI^W^pfFfY MkRK, PA. Scene of the climactic Battle of Gettysburg and the place where President Lincoln made his celebrated Gettysburg Address Of the more than 2,000 land engagements of the sheltered slot of the Shenandoah and Cumber­ hastened to the front. He watched the Federals the Civil War, Gettysburg ranks supreme. Though land Valleys. stream toward the hills south of town and begin Gettysburg did not end the war, nor attain any When Union Gen. Joseph Hooker saw the thin their entrenchments. Though aware that their posi­ major war aim for North or South, it remains the ranks Lee had left behind to screen Richmond, he tion was a strong one, he believed it could be crushed great battle of the war. wanted to strike for the Confederate Capital. But by attacking Culp's Hill or Cemetery Ridge, the Here at Gettysburg on July 1, 2, and 3, 1863, President Lincoln directed him to pursue Lee's army, southerly extension of Cemetery Hill. more men died than in any other battle fought keeping between the Southern host and Washington. before or since on North American soil. Here the During Lee's northward march, his main body y dawn, July 2, Lee's army was poised Confederacy saw its greatest offensive turned of cavalry under Gen. J.E.B. Stuart had swung to before the hook-shaped Union line; he back, saw its splendid army retreat to Virginia the east. Union forces in close pursuit cut Stuart hoped to break it before Meade's entire with no gain to match its valor and terrible sacri­ off, depriving Lee of the "eyes" of his army.
    [Show full text]
  • Susan Boardman -- on -- Gettysburg Cyclorama
    Susan Boardman -- On -- Gettysburg Cyclorama The Civil War Roundtable of Chicago March 11, 2011, Chicago, Illinois by: Bruce Allardice ―What is a cyclorama?‖ is a frequent question heard in the visitor center at Gettysburg. In 1884, painter Paul Philippoteaux took brush to canvas to create an experience of gigantic proportion. On a 377-foot painting in the round, he recreated Pickett‘s Charge, the peak of fighting at the Battle of Gettysburg. Four versions were painted, two of which are among the last surviving cycloramas in the United States. When it was first displayed, the Gettysburg Cyclorama painting was so emotionally stirring that grown men openly wept. This was state-of- the-art entertainment for its time, likened to a modern IMAX theater. Today, restored to its original glory, the six ton behemoth is on display at the Gettysburg Museum and Visitor Center. On March 11, Sue Boardman will describe the genre of cycloramas in general and the American paintings in particular: Why they were made, who made them and how. She will then focus on the Gettysburg cycloramas with specific attention to the very first Chicago version and the one currently on display at the Gettysburg National Military Park (made for Boston). Sue Boardman, a Gettysburg Licensed Battlefield Guide since 2000, is a two-time recipient of the Superintendent‘s Award for Excellence in Guiding. Sue is a recognized expert of not only the Battle of Gettysburg but also the National Park‘s early history including the National Cemetery. Beginning in 2004, Sue served as historical consultant for the Gettysburg Foundation for the new museum project as well as for the massive project to conserve and restore the Gettysburg cyclorama.
    [Show full text]
  • St. Ignatius Collegian, Vol. 5 (1905-1906) Students of St
    Loyola University Chicago Loyola eCommons St. Ignatius Collegian University Archives & Special Collections 1906 St. Ignatius Collegian, Vol. 5 (1905-1906) Students of St. Ignatius College Recommended Citation Students of St. Ignatius College, "St. Ignatius Collegian, Vol. 5 (1905-1906)" (1906). St. Ignatius Collegian. Book 3. http://ecommons.luc.edu/st_ignatius_collegian/3 This Article is brought to you for free and open access by the University Archives & Special Collections at Loyola eCommons. It has been accepted for inclusion in St. Ignatius Collegian by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. LOYOLA UNIVERSITY LIBRARY REFERENCE Class Digitized by the Internet Archive in 2011 with funding from CARLI: Consortium of Academic and Research Libraries in hnois http://www.archive.org/details/stignatiuscolleg05unse REV. ARNOLD DAMEN, S. J. Founder of Holy Family Parish and St. Ignatius College. t. 3lamituts Collegian Vol. V. Chicago, 111., November, 1905 No. 1. The Jesuits in Chicago. A History of Holy Family Church and St. Ignatius College. TO go back to the earliest appearance of the Jesuit in Chicago is to go back to the days of the wilderness when the site of the city was a dreary waste of swamp and sand-dune through which the river made its way sluggishly to the lake. There was lit- tle in Chicago in those days to tempt the missionary or discoverer to rest from his labors ; there was still less which gave promise of the great city which should one day gather to itself the peoples of the Old World to build there their fortunes and their homes.
    [Show full text]
  • December 2013
    IPC Executive Board: IPC President: Prof. Yadegar Asisi Ernst Storm, [email protected] (GE-Berlin) Dr. Mimi Colligan Newsletter 28 (AU-Melbourne) IPC Secretariat: Patrick Deicher MA December 2013 (CH-Lucerne) International Panorama Council Dominique Hanson Sylvia Alting van Geusau (BE-Brussels) International Panorama Council Postbus 76012 Ernst Storm MSc 1070 EA Amsterdam (NL-Rotterdam) The Netherlands Ryszard Wójtowicz M.A. (PL-Rogoż) www.panoramacouncil.org Phone +31 621 98 73 47 Prof. Martin Woolner [email protected] (UK-Plymouth) NEW SECRETARY -GENERAL APPOINTED The Executive Board of the International CONTENT Panorama Council has appointed a new Secretary-General to ensure a NEW SECRETARY -GENERAL APPOINTED 1 prosperous future of the organization. We are very happy to be able to introduce Sylvia Alting van Geusau MUTATIONS TO THE EXECUTIVE BOARD (1988) as our new person in charge. She OF IPC 2 studied Theatre Studies and Art History at the University of Amsterdam. In 2012 SAVE THE DATE ! – 23 RD INTERNATIONAL she obtained her MA degree in Art PANORAMA CONFERENCE 2014 2 Studies with a thesis on all historical Panoramas in Amsterdam. Her 22 ND INTERNATIONAL PANORAMA Curriculum Vitae shows she is a CONFERENCE, PANORAMIC SPECTACLES panorama professional, and she is well A TOURIST ATTRACTION THEN AND NOW 2 aware of the huge task that is waiting, to turn the professionalization of our STUDY FOR THE GREAT CHICAGO FIRE organization into a success. CYCLORAMA REDISCOVERED 4 Sylvia Alting van Geusau PANORAMA OF THE THAMES PROJECT 5 Postbus 76012 1070 EA Amsterdam EXHIBITION ON PANORAMA PAINTER [email protected] GEBHARD FUGEL 5 Mobile phone: +31 621 98 73 47 INTERACTIVE PANORAMAS ’ ROLE IN HELPING TO PRESERVE CULTURAL MEMORY 5 Former Secretary Patrick Deicher was surprised by a radical change in his job with BDO Ltd.
    [Show full text]