Abstract

In 1787 Robert Barker, an Irish painter living in Edinburgh, patented the panorama, an immense circular painting which for the first time allowed viewers to immerse themselves in the canvas. Launched in London in 1791, the panorama rapidly spread throughout Europe, becoming particularly popular in Paris. The aim of this article is to reconstruct the genesis of the panorama industry in London and Paris between 1793 and 1816, a period in which war between France and England monopolized the market. More precisely, the article will investigate the reasons for the success of the military panorama, highlighting its decisive role in the transformation of public imaginary and the spectacularization of war.