Panorama (art)

Panorama ( all-view from the Greek pan , all, and horama , view) is a perspective representation of landscapes or events that can be overlooked by several people at the same time from a fixed point. If the pictures are stationary, the cylindrical surfaces are called circular pictures or circular paintings, the viewer being in the middle to view them. Variants without a 360 ° view, but with moving image strips or length images in the manner of the Rhine panorama , are known in German-speaking countries as Cyclorama (also: Cyklorama), in Anglophone countries as moving panorama .

In addition to these two main forms, there are a number of other variants of the panorama.

History and Development

and display information about the image

Panorama from the Qingming scroll , from the 18th century as a new edition of an original from the 12th century by Zhang Zeduan

The panorama goes back to the Irishman Robert Barker (1739–1806). On 19 June 1787 he announced in Edinburgh for a patent, which was described as "full view of a landscape or situation as it appears in front of the observer when he once completely turns around" ( English to Entire view of any country or situation, as it appears to an observer turning quite round ). What is remarkable is that this is the first time that an art object such as a technical invention was patented. Originally he had it registered under the name “la nature à coup d'oeil” (nature at a glance), but later changed the name to “Panorama” (partly for reasons of market technology). Barker made a first attempt in 1787, on a small scale, with the view of Edinburgh and then in 1791 in London, using his now patented method, first showing London from the Roof of the Albion Mills , then in 1792 had a rotunda with a diameter of 30 meters built in which he showed the representation of the Russian fleet at Spithead .

The German architectural painter Johann Adam Breysig (1766–1831), director of the Danzig Art School, claimed in a text published in 1799 that he had developed the idea for a complete circular painting a year before Barker, namely 1788 [!], And assumed that that his ideas somehow found their way to England and were stolen there by Barker published. Even if he stuck to this statement, the fact that Barker had already patented his invention a year before Breysing's idea proved that Breysing's claim was not valid. Nevertheless he managed to at least find someone to finance his own panorama. The painters Johann Carl Enslen and his son Karl Georg Enslen , a pupil of Breysig from 1808 to 1811, introduced panoramas on a large scale in Germany, with the father probably more for technology and the son after attending the Berlin Academy until 1815 than the Painters worked together.

A little later one set up panoramas in Paris , where they were improved by Pierre-François-Léonard Fontaine , Constant Bourgeois (1767–1841) and Pierre Prévost (1764–1823); thereafter this form of entertainment spread in all major cities in Europe.

The oldest preserved panorama painting in the world is the Wocher Panorama of Thun in Switzerland.

Panorama painting took on a new upswing after the Franco-Prussian War , after an attempt had been made in 1867 in the Champs-Elysées in Paris with a panorama of the Battle of Solferino . The same was replaced in 1875 by a colossal circular painting by Félix Philippoteaux depicting the defense of Paris , in which the artist sought to achieve the illusion of reality not only with painterly but also with plastic means.

From then on, this principle remained authoritative for panorama painting and came through numerous creations by outstanding artists as battle panoramas, panoramas of the German colonies , scenes from biblical history etc. in numerous German cities such as Berlin , Munich , Frankfurt am Main , Leipzig , Hamburg , Düsseldorf and others . a., for which special buildings were built, for the performance.

The first panorama painting was created in the USA in 1885, relatively late. It shows the Battle of Chattanooga and was painted by Eugen Bracht , Georg Koch and Röchling, commissioned by the City of Philadelphia.

More panorama shapes

The invention of the panorama in the 1830s led to the development of numerous other oramas . In addition to the diorama and the moving panorama, this includes the georama , the neorama and the myriorama , as well as the cosmorama and the pleorama .

All these ornaments have either been displaced by panoramas or have been reduced to the level of the show booth. Stephan Oettermann sums up: “The history of the panorama spans a century, the nineteenth - and only this one. Leaders and followers can be found as everywhere, they are meaningless ” . On the other hand, there is Oliver Grau , who sees the panorama as the technological forerunner of immersive environments (such as the Cave Automatic Virtual Environment ).

Since the 1970s, new panoramas have been created around the world in quick succession. The art and media phenomenon is re-executed in the classic form as painting on canvas or, using today's technologies, put together as a picture on the computer and then printed on large strips of fabric. This development, as well as more recent research results, relativize the above statement by Stephan Oettermann, according to which the panorama was a phenomenon of the 19th century.

Section of Panorama Mesdag in The Hague

Conditions for the creation of a panorama

As a result of the industrial revolution, urban centers formed in the cities towards the end of the 18th century. In addition, the new social class of the bourgeoisie developed. These required new forms of cultural entertainment. The horizon limit was "discovered". The beginning of tourism, the beginning of alpinism, the first aeronautical experiments with hot air balloons and the era of extended voyages of discovery all fall into this time.

The origin of the concept of panorama

A panorama was originally an equal geographical form of representation alongside a map , relief and profile (which is now almost only used as a geological profile ). It had a great influence on the land survey , because both methods of height measurement and land survey (the measuring table method) were developed from it. There were panorama presentations in two basic forms:

As long strips of image that, joined together at the ends, showed either a 360 ° all-round view (cylindrical full-round panorama) or a longer section of it, or the view to one side of a stretch of road or a river bank, sometimes a sea coast.

The top view of a terrain as recorded with a fisheye lens (wide angle 180 °) is less common , sometimes also referred to as a circular ring panorama. The lookout point can be seen in the middle and the horizon line at the edge. For a closer look, the sheet is rotated around the center. This form was used almost exclusively for tourism or educational purposes.

Prospect géométrique des montagnes neigees (1755)

Panoramas from the end of the 18th century to the middle of the 19th century were of greatest importance for scientific purposes. The first scientific mountain panorama was drawn by Jacques-Barthélemy Micheli du Crest from Geneva in 1754. It was printed under the title Prospect géometrique des montagnes neigées dites glacier, telles qu'on les découvre en tems favorable depuis le château d'Arbourg dans les territoires des Grisons, du Canton d'Ury et de l'Oberland du Canton de Berne by Tobias Conrad Lotter in Augsburg in 1755. But there were already numerous panorama-like representations going back to the 15th and especially the 16th century. However, these have not yet been created on an exact geometric basis. It is possible that the topographer Anton van den Wyngaerde (1525–1571) from Amsterdam created a cylindrical full-round panorama under the title Zelandia Descriptio as early as 1548/49 .

Also noteworthy are the long, strip-shaped coastal views produced on voyages of discovery z. B. by William Westall (1781–1850) from the book on Matthew Flinders ' travel book . Panorama representations have been popular since the middle of the 19th century, especially as illustrations in travel guides, e.g. B. Switzerland .

The panorama as art

By Robert Barker patented staging of the cylindrical large screens through, reminiscent, railing at observation platforms and engaging through the foreground natural objects, she made since 1792 for the profitable and popular arts entertainment . In the degree of its imitation of reality , it went beyond the simple wide-format , but two-dimensional panorama picture .

The marketing of the patent in the metropolises by Barker and his imitators has led to inflated ratings: Stephan Oettermann defines the panorama in his monograph of the same name as: “A machine in which the rule of the bourgeois gaze is learned and at the same time glorified, as an instrument for liberation and for the renewed incarceration of the gaze, as the first optical mass medium in the strict sense ” . Albrecht Koschorke describes the panorama as a “skimmed image” , that is, as a forerunner of panoramic apperception , and Walter Benjamin speaks of “aquariums from afar and the past” .

Illusion generation

The panorama of the 19th century often consisted of several accessible levels, from which the visitor could, for example, look at a 360 ° monumental image from an elevated point of view. The most common motifs were city or landscape views , which were produced with the help of a camera obscura . Combination forms with a projection using the magic lantern were also common.

Generation or technology

A large circular building (rotunda) is entered through the entrance after paying the entrance fee. Through the darkened corridor, in which the eyes get used to the twilight that prevails inside, the visitor reaches the observer platform via stairs. An umbrella-like sail stretches over it, which has the function of removing the upper edge of the frameless picture stretched all around with a landscape representation of 360 ° as well as the ring-shaped skylights in the roof from the view of the beholder. Daylight falls on the painting, is reflected from there and illuminates the room evenly. The lower edge of the circular painting is covered either by the protruding platform itself or by the faux terrain that runs between the platform and the canvas, which uses real, three-dimensional objects to hide the transition from three-dimensional space to two-dimensional image.

While the viewer's gaze can slide freely over the surrounding 1000 to 2000 square meter screen, a barrier prevents the vertical viewing angle from exceeding the size. Nowhere can the gaze wander beyond the painting to compare the picture, painted in “proto-photographic” realism, with reality. Since all the light seems to emanate from the painting itself, after a few minutes the visitor has the perfect and amazing illusion that he has actually been moved to the depicted location “as if by magic”.

Involvement of the audience

By designing the visitor platform in a style that fits the subject of the picture (such as a balloon gondola or a ship's lookout deck), the visitor was given the feeling of being at the scene of the action.

Polyp perspective

Instead of the central perspective that is binding for the peep box pictures, a “democratic”, innumerable eye points and thus observer points of view implicating multiple perspectives emerged in the panorama.

The central perspective construction is based on a fixed eye and constructs the image towards this by gathering the lines of flight in the eye point. For viewing such a picture, this means that only one viewer can look at the picture from the opposite point of view. Images constructed from a central perspective are exclusive images insofar as they only allow one person to look at them.

In the panorama, on the other hand, all viewers' points of view coincide with the horizon; the circular shape results in an infinite number of focal points for viewing and thus (theoretically) an infinite number of viewers who can look at the picture undistorted.

Panorama size

The first panoramas were relatively small. This quickly made the visitor feel dizzy, as he felt that he had covered several miles with every step. The problem was solved by increasing the image diameter from about 10 meters to about 30 meters in the 1830s.

Faux terrain

Beach utensils at Panorama Mesdag (front part of the photo): chair, net and basket

At first, in order to conceal the lower edge of the painting, cloths were stretched between the platform and the canvas. In the 1820s, the foreground was made three-dimensional to match the representation. In doing so, the representation of the foremost image level was allowed to merge into a relief and from then on it was continued in a fully sculptural manner to below the platform so that the physical and spatial values of the painting visually merged with the real ones. It was crucial that no clear distinction could be made between painted and real picture objects.

Visitors

Goal of the panorama

It should create obstacles out of the way to enable a cool, detached view of things that is not clouded by any subjectivity, by any physical limit. A look like the objective sciences of the time claimed for themselves. The viewer should be given the most direct, comprehensive and deceptively real impression of certain locations or events. The visitor should be able to let his gaze wander as if he were in the open air and at the actual location of the action.

The pleasure of seeing should be educationally supplemented by its geographical, scientific or ethnological topics. The value of a panorama as an educational instance depended directly on the realistic drawing. For this purpose, the painters had to be able to prove the authenticity of their depiction.

Purpose of the panoramic visit

Urbanization encouraged citizens to be curious about places and events in the wide world. It was a journey through the eyes to unknown locations outside of one's own everyday experience. It pretended to travel “like in a dream”, more convenient and faster than any other means of travel. The interest was doubly related to the onset of tourism. People who had actually seen the places could now competently compare their memories with the picture, and people planning a trip could see in advance what to expect and then critically check these impressions against reality.

Picture themes

With the panorama one moved away from mythological and allegorical representations, which could only be understood by the educated observer, towards realistic landscape representations. Away from the representation of religious-historical events that illustrated the biblical story to the representation of current realpolitical events that interested the newspaper reader.

In the first phase of the panoramas, there were mainly landscape images of strange and well-known places to marvel at. The second phase focused on historical events. The choice of pictures was difficult. It should have happened not too long ago. At first, battle pictures from the recent past were relevant. Later battles from older to ancient were shown.

Information brochures

Information brochures were orientation plans with an outline drawing that numbered points of interest and provided explanations. Over time, the souvenir programs developed into small brochures, then strong notebooks, and finally small books of 60 to 80 pages with explanatory text. However, the panoramas themselves, the circumstances in which they were created, their dimensions, etc. are very rarely described in these brochures. The texts are limited to a detailed geographical description of what is depicted, referring to its history and characteristics. So no explanation of what is shown, just additional information.

Panorama as art

Mass art

You never asked who had painted the picture, or whether the pictures had even been painted by anyone. The audience consisted mostly of uneducated people who had little other opportunity to see or assess the quality of original oil paintings. The panorama should simply please, amuse, surprise, astonish, educate, entertain and ultimately generate profit for its owner. The illusion of startling reality was paramount; “High” art by a major artist would only have been a problem.

Mass medium

The panorama was called the first mass medium in the strict sense. In contrast to previous collections, it was open to everyone. The realism of the pictures made them understandable for everyone. The size of the picture and the complicated manufacturing process required a division of labor. The immense costs forbade private purchases and thus elitist art enjoyment - the medium had to be financed by the massive sale of tickets.

Artistic aspect

The choice of the viewer's point of view was very important, as things could not simply be added or omitted (through artistic freedom) - after all, the panorama should be absolutely realistic. This choice was the only free decision of the artist, who otherwise only had to depict everything 1 to 1.

The precision and truthfulness went so far that extensive research work was done before drawing in order to represent everything correctly (for example in the case of historical events). But not only the tangible objects should be precisely represented in a panorama, but also the exact time of the represented event. Careful study of the natural lighting conditions was essential.

Three high flowers

In the 1830s, the public lost interest in the panorama, as the need for optical information was more varied and better satisfied by the rapidly developing photography and illustrated newspapers. Only with the Franco-Prussian War of 1870/71 did the panorama blossom again. The battles provided new material and encouraged patriotism. The form of financing of the public limited company was found. The rotunda were standardized. Within a short time, new rotundas were built in almost all major cities in Europe and America on behalf of public companies. It was not until the beginning of the 20th century that panoramas were supplanted by newer forms of media and changed entertainment habits. From the 1970s, first in the communist sphere of influence, a renaissance of the panorama phenomenon began. Since then, new panoramas have been created around the world almost every year.

distribution

Individual financing

In Barker's time, it was the artists themselves who, in addition to producing the panorama, were also responsible for opening times, advertising and tickets. In order to manage the enormous amount of work and keep it inexpensive, the whole family was often involved in the company in the beginning. Most of the panorama paintings had to be exhibited in larger halls, as the high investment costs of building a rotunda could only be raised by a few artists.

Societies

The joint stock companies of the second panorama phase were able to raise the necessary immense capital without any problems. They recruited investors with substantial profit promises, which, however, could only be kept in the rarest of cases. Most of them went bankrupt sooner or later.

Normalization

The stock corporations ensured that the pictures could be used internationally by having rotundas of standardized dimensions built in which the picture scrolls could circulate. In practice, however, there was the problem that there was hardly a picture theme that was on the one hand "neutral" enough not to offend the national feeling in any of the potential exhibition countries, but on the other hand was so generally interesting that it would have attracted sufficient audiences everywhere.

Teamwork

In the second panorama phase, the panoramas had to be produced within months. A neglect of artistic individuality; young painters who were not very ambitious were hired. The individual panorama painters then specialized in architecture, landscape or decorative painters. Bringing the individual specialists together was the responsibility of the responsible painter. A whole series of craftsmen and assistants helped the painters, who mixed colors, pushed scaffolding, etc.

Similarities between panorama, photography and film

To a certain extent, the panorama was the forerunner of early cinema, in that it enabled direct participation in unknown locations and historical events. In that the panoramas wanted to depict the depicted nature in a deceptively real way, they point towards photography, and the moving panorama variants towards film. The organizational and financing structures were also the same as those of the cinema.

Panorama images that exist today

Around the world there are still around 30 panoramas from the 19th and early 20th centuries. Since the 1970s, an increasing number of new interpretations of this art and media form has been added every year. Yadegar Asisi creates the world's greatest works . His 360 ° panoramas on a scale of 1: 1 have an image area of up to 3,500 m² (110 m × 32 m) and are currently in the Panometer Leipzig , the Panometer Dresden , the Panorama XXL in Rouen , the Gasometer Pforzheim , the Wittenberg360 in Lutherstadt Wittenberg and shown in the asisi Panorama Berlin .

Europe

Germany:

Bad Frankenhausen : Peasant war panorama , 1783 m², "Early bourgeois revolution in Germany" by Werner Tübke , (painted: 1987). This painting is executed as a round picture, but does not correspond to the illusionistic basic concept of the invention of Robert Barker
Altötting : Panorama of the Crucifixion of Christ , "The Passion of Christ" by Gebhard Fugel , 1140 m² (1903)
Lorch Abbey : " Staufer-Rundbild ", 135 m². Hans Kloss (2002)
" 180 ° Berlin ": Berlin after the Second World War 1945, Marcel Backhaus (2005)
Panometer Leipzig : "Titanic", by Yadegar Asisi (2017).
Panometer Dresden : Alternating "Dresden 1945" and "Dresden im Barock", Yadegar Asisi (2015).
Asisi Panorama Berlin : “The Wall - The Panorama of Divided Berlin” by Yadegar Asisi at Checkpoint Charlie (2012).
Gasometer Pforzheim: "Rom 312", by Yadegar Asisi (2014).
Wittenberg 360: "Luther 1517", by Yadegar Asisi (2016).
Panorama am Zoo, Hanover: "Amazonia", by Yadegar Asisi (autumn 2017).
Schwäbisch Gmünd Panorama Museum : Staufersaga Panorama by Hans Kloss (2015)

Austria:

Innsbruck's giant circular painting : Bergisel Battle , 1896 by Michael Zeno Diemer , 1000 m²
Salzburg : the Sattler Panorama was created from 1825 to 1829 by Johann Michael Sattler (1786–1847) a. a. painted (125 m², 25 × 5 m) shows the city of Salzburg and its surrounding area around 1825.

Switzerland:

Lucerne : Bourbaki Panorama , 1000 m², Edouard Castres u. a. (1881, restored 2003)
Thun : Wocher Panorama , the oldest preserved panorama in the world. Round picture of the city of Thun, 287 m², was painted by Marquard Wocher between 1808 and 1814 .
Murten : Battle of Murten , 1022 m², Louis Braun u. a. (1894, restored: 2002); Re-installation for the Swiss National Exhibition 2002 , currently rolled up in a military depot.
Einsiedeln : Crucifixion of Christ , 1000 m², modern new version by Josef Fastl and Hans Wulz (1962) after the burned copy by William Leigh , Josef Krieger , Karl Hubert Frosch after Bruno Piglhein (1886).
Ascona : Panorama: The clear world of the blessed by Elisar von Kupffer (in the Elisarion of Monte Verità )

Great Britain:

London : View of Rome, Victoria and Albert Museum , 22 m², Ludovico Caracciolo (1824).
Portsmouth : Battle of Trafalgar , National Museum of the Royal Navy Portsmouth , 48 m², WL Wyllie (1929)
Stoke-by-Nayland ( Suffolk ): Panorama of the city of Bath , 490 m², Roger Hallet (1987)

Netherlands:

The Hague : Panorama Mesdag : "Dunes of Scheveningen", 14.7 × 114 m, 1686 m², artist: Hendrik Willem Mesdag u. a. (1883, restoration: 1996)
Voorhout : Panorama: "Tulip Land", 252 m², Leo van den Ende , in progress since 1997

Belgium:

Braine-l'Alleud : Battle of Waterloo in 1815, 1320 m², Louis Dumoulin u. a. (1912)
Brussels : Nile panorama and Cairo, 1494 m², Eduard Wauters (1882)
Brussels: Panorama: Battle of the Yser in 1914, 1680 m², Alfred Bastien (1921)
Brussels: Panorama: Battle of the Maas in 1914, 612 m², Alfred Bastien (1914)
Brussels: Panorama of the Congo , 2025 m², Alfred Bastien and Pol Mathieu (1913) - currently not public
Diksmuide : Ijzertoren Museum, World War I panorama, 100 m² (?)

France:

Salies-de-Béarn : View of Salies-de-Béarn, 30 m², Roger Hallett (2000).
Rouen , Panorama XXL: “Rouen 1431”, by Yadegar Asisi (2016).

Hungary:

Ópusztaszer near Szeged : Feszty panorama of the Magyar conquest around 896, 1800 m², Árpád Feszty u. a. (1894, restored and re-erected: 1995).

Czech Republic:

Prague : “Maroldova Panorama”, Hussite battle near Lipany in 1434, 1045 m², Luděk Marold (1898).

Poland:

Wroclaw : Panorama of Racławice , 1710 m² (1893–1894)

Bulgaria:

Pleven : Liberation of Pleven in 1877 ( Russo-Ottoman War ), 1725 m², Nikolai Vasiliwitsch Ovetsjkin and painter from Moscow's Grekov studio and Bulgarian artist (1977).

Russia:

Moscow : Battle of Borodino 1812, Franz Roubaud (1912); exhibited in the Panorama Museum of the Battle of Borodino .

Volgograd : Battle of Stalingrad 1943, group of painters from the Moscow Grekov studio (1982).

Schukow : Diorama: Attack on the Berlin Reichstag in 1945, 216 m², Evgenyi Ivanovich Danilevkyi and Veniamin Mikhailovich Sibirsky (1976)

Khabarovsk : Panorama of the Battle of Volochayevk in 1922, 276 m², Anatolyi Andreevich Gorpenko and Sergei Dimitrevich Agapov (1975)

Ukraine:

Sevastopol : Panorama of Sevastopol , 1610 m², by Franz Roubaud u. a. painted in Munich (1904) (see above)
Sevastopol: Diorama from the attack on Sapun Mountain in 1944, 149 m², group of painters from the Moscow Grekov studio (1959)
Sokolovo: Battle of Sokolovo, by V. Mokroschitzki u. a. (1968), exhibited in the Museum of the Combat Brotherhood

rest of the world

China:

Wuhan , Panorama of the Chi-Bi War , 135 × 18 m, 2430 m², the third largest panorama in the world (1999)
Dandong , November battle in 1950 on the Qingchuanjiang River in the Korean War , 16 × 132 m, 2114 m², artists: Song Huimin, Ren Mengzhang, Xu Rongchu, Wang Tieniu, Guan Qiming, Yan Jian, Chi Liancheng (1993)
Beijing , diorama from the Lugouqiao incident in 1937, 816 m² (painted: 1988)
Dongguan , diorama of the sea battle at Humen in 1841, 638 m² (1999)
Hebai, panorama of the battle of the conquest of Yuncheng in 1947, 2125 m² (2000)
Jinzhou , Panorama of the Capture of Jinzhou, 1968 m² (1989)
Laiwu , Panorama of the Battle of Lai-wu in 1947, 2036 m² (1997)
Province of Shandong , Panorama of the Battle of Ji Nan in 1948, 2268 m (2002)
Suzhou (Jiangsu) , Diorama: The Battle of Yangcheng Lake, 1023 m² (1993)
Weihai , Diorama: The Battle of the Huanghai Sea
Zaozhuang , Panorama: Battle of Tai'erzhuang in 1938, 2048 m² (1995)

UNITED STATES:

Atlanta , Cyclorama: Battle of Atlanta in 1864, 1378 m² (1886 / restored: 1982 and 2016–2019)
Berlin, Ohio , Retention Cyclorama, 243 m², Heinz Gaugel (1992)
Gettysburg , Cyclorama: Battle of Gettysburg in 1863, 990 m², Paul Philippoteaux (1884)
Glendale , diorama: Golgotha, 1040 m², Jan Styka (1891)
Los Angeles , Velaslavasay Panorama, 25 m², Sara Velas (2001)
New York , Panorama: Palace and Gardens of Versailles , 180 m², John Vanderlyn (1819/1983)
Washington, DC , Panorama: Cumberland's Army, 1863, William Travis (1865) (not currently public)
formerly Winston-Salem , Cyclorama: The Battle of Gettysburg (1884, stored)

Canada:

Sainte-Anne-de-Beaupré , Cyclorama of Jerusalem: Jerusalem on the day of the crucifixion, 1540 m² (after Bruno Piglhein , 1886)

Egypt:

Cairo- Heliopolis : October War 1973 , 15 × 136 m, 2040 m²; North Korean artist group: Ri Chun Sik, Ri Chun Song, Kim Jong Thae, Ryom Thae Sun, Ri Kun Thaek, Hwang Tok Gwan, Ri Jae Su, Sin in Mo, Kim Chong Hak, Ri Sung (1989)

Syria:

Damascus : Fourth Middle Eastern War (1998)

Iraq:

Baghdad- Ctespiohon: Panorama of the battle of al-Qādisīya in 637, (1650 m², painted 1980) was looted after the fall of Saddam Hussein, largely destroyed and, according to eyewitnesses, is now a ruin

North Korea:

Pyongyang , diorama : storm attack at 351, 900 m² (1972)
Pyongyang, panorama: Taejon liberation from 1950, 2016 m² (1974)
Pyongyang, diorama: Battle of Height 1211 from 1951, 900 m² (1972)
Pyongyang, diorama: searchlight in Pochonbo from 1937, 900 m² (1972)
Pyongyang, diorama: Metro pride of Korea, 750 m² (1989)
Pyongyang, diorama: Battle of Jiansanfeng, 900 m² (1974)
Diorama: Battle of the Kansam Summit of 1934 (painted: 1974)
Diorama: Railway construction / electrification, 750 m² (1992)

Australia:

Hawker , Wilpena Panorama, 90 m² (2002)
Melbourne : Cyclorama of early Melbourne from 1841, 100 m² (1892) - currently not accessible
Norfolk Island : Fletchers Mutiny Cyclorama, 180 m²,
Alice Springs : Guth Panorama, 360 m², 1975, was destroyed in a fire in 2005

Former panorama pictures