All around paintings / panoramic paintings
We interpret the term "all around painting" (Panorama painting)* as an illusionistic composition of several walls inside. All around paintings reinterpret the constructional structures, dissolve walls and open up new horizons. The room as a whole is reinterpreted, and the observer steps into a new reality, into a different world of emotions.
Even if the observer knows, that what he is currently looking at is only a painting, the suggestive power of the painting exerts an irresistible fascination. Even if the sky or the sea or a landscape is “only painted”: They stimulate the emotions, associations and experiences on a subconscious level.
(*The term panorama was widely established during the 19th century for omnidirectional paintings, which were painted onto the inner walls of a round building especially constructed for said purpose.)
As an artist we can’t look past, or rather work past, the constructional constraints. The real skill in painting an omnidirectional painting therefore is, to make the painting have a certain effect on the actual room. How could inner walls become outer walls? How do we design the corners of the rooms or even make them disappear? How do we include the surface of the floor and the ceiling into the whole painting?
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 staircases particular rules have to be applied, since not only the viewing point but also the horizontal level of the observer changes constantly.