This first book published on film noir established the genre--a classic, at last in translation.

A digitally enhanced version of this atlas was developed by the Digital Scholarship Lab at the University of Richmond and is available online. Click the link above to take a look.

At the turn of the twentieth century, photographic technology and an American culture of optimism and self-celebration combined to create what Luc Sante calls the "strange and compelling medium" of panoramic group photography. Organizations famed and obscure—from the Anti-Saloon League of America and the troops at Camp Sevier during the Great War to the members of the Midget Swing Review—commissioned photographers to produce images that sometimes encompassed a full 360 degrees. No public event—a circus, a train wreck, or the Army-Navy football game—was too grand or eccentric to deserve its own wide-angle commemoration. The photographs compose a portrait of a society on the cusp of sweeping change, as their details preserve the enduring humanity of their subjects: a bathing beauty tosses her curls; a group of cross-dressing women smile enigmatically at an off-camera friend; children at play on a summertime lawn appear only as blurs behind an Ohio town meeting. The Big Picture gathers nearly one hundred of these fascinating images, most never before published, bringing the shared experience of American history from the late nineteenth century to the WWII era to life.

In this book, Bernard Comment examines the wide variety of panoramas featuring both the old and the new worlds. Included among views of cities are Robert Baker's View of Edinburgh and depictions of Paris, Moscow and Lima.

The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.

The panorama is primarily a visual medium, but a variety of print matter mediated its viewing; adverts, reviews, handbills and a descriptive programme accompanied by an annotated key to the canvas. The short accounts, programs, reviews, articles and lectures collected here are the primary historical sources left to us.

In addition to American sources, draws from German sources not generally consulted by historians of American art. Presents biographical sketches of German and German-speaking painters, graphic artists, engravers, lithographers, sculptors, and some stained glass designers who arrived in North America from the colonial period to the 20th century. The bibliographic references are article specific. No index. Annotation copyrighted by Book News, Inc., Portland, OR