We use panoramic pictures to enlarge rooms by extending the view, whilst generating an appropriate mood and emotion, which transports the viewer from the present into imaginary space and time.
Panoramic pictures cover all areas of several walls in a room. (During the 19.th century the word “panorama“ was used for round pictures in circular rooms, in the middle of which a viewing platform was installed.)
The observer knows, that it is simply a picture which he is looking at, but the stimulating effects of the objects and the way in which they appear to be real, evoke a fascination that draws him into the picture. Even if the sky or the sea or the landscapes are “just painted”, they evoke feelings, experiences and associations.

Panoramic paintings interpret the interior in a new way, open up walls and reveal new horizons. However they can´t ignore the architectural structure of the actual room. The quality of a circular painting depends how well the composition and the real room are related.
“Perspective“ is the keyword. The most important positions of observation must be taken into account by the artist, changing points of view have to be considered in the construction of complex perspectives. The perspective crossover effects blending one wall into the other makes it difficult for the observer to calculate the actual dimensions of the room. For straircases particular rules have to be applied, since not only the viewing point but also the horizontal level of the observer changes constantly.

Panoramic murals are the highest achievement of trompe-l´œil. More important than the simulated objects is the manner in which they are portrayed: composition, integration into the architectural space, relationships within the painting and toward the observer, mood of colours, delicacy of light…
Here lies the difference between illusionistic painting and photographed wallpaper. And here it becomes apparent, if a trompe-l´œil painting is only a decoration or if it is a piece of art.