@inbook{6b09d7c01ef84e299171b91c9d39b941,
title = "Nineteenth-century Panoramas as Virtual Placemaking",
author = "Carla Hermann",
year = "2025",
language = "English",
editor = "Leslie Atzmon and Pamela Stewart",
booktitle = "Visual Ecologies of Placemaking",
publisher = "Bloomsbury Academic",
}
@inbook{b5b88fe6604b45b1a8b53fe91cdbb9f1,
title = "Robert Burford, Rio de Janeiro, 1827",
abstract = "{"}Vignette{"} on the panorama entitled Description of a View of the City of St. Sebastian, and the Bay of Rio Janeiro, exhibited on the Leicester Square rotunda in London between 1827-1828, painted by Robert Burford.",
author = "Carla Hermann",
year = "2020",
month = nov,
day = "17",
language = "English",
isbn = "0300184794",
volume = "1",
pages = "50--51",
editor = "Tim Barringer and Katie Trumpener",
booktitle = "On the Viewing Platform",
publisher = "Yale Univ. Press",
edition = "1",
}
@article{84b50c1d44b44507a9db793c5eb9ec3b,
title = "Palavra-experi{\^e}ncia e os panoramas oitocentistas brit{\^a}nicos",
abstract = "The article discusses the relationship between image and writing in 19th century British panoramas. It briefly explains the panoramas phenomenon, an artistic form patented by the Irish painter Robert Barker in 1787. None of the panoramas paintings we have studied exists today. Therefore, we have to study them with textual sources. First, we address the criticism published in newspapers at the time of the opening of the exhibitions in the rotundas. Then, we analyze the relationship between image and writing based on a characteristic the panoramas invented themselves: the key, sort of a written guide, in which an engraving of the exhibited painting helped the patrons of the rotundas to understand the views. With these sources, we understand what I call the word-experience, and the importance of texts for the phenomenon of 19th century panoramas and their idea of totality.",
author = "Carla Hermann",
year = "2020",
month = jun,
day = "6",
doi = "10.24206/lh.v6i2.32231",
language = "Portugiesisch (Brasilien)",
volume = "6",
pages = "167--184",
journal = "LaborHist{\'o}rico",
issn = "2359-6910",
publisher = "Universidade Federal do Rio de Janeiro - UFRJ",
number = "2",
}
@article{3c70153614c7457a8588ddddbd3a2742,
title = "Como H{\'e}lio Oiticica chegou {\`a} Mangueira?",
abstract = "AbstractThe article analyses H{\'e}lio Oiticica work having his incursion o the Mangueira Hill in 1963 as a starting point. Through the relationship between the artist and Brazilian popular culture, we seek to understand how the favela experience had an effect on Oiticica´s works, especially with the Parangol{\'e}s (1966-68) and Tropic{\'a}lia (1967). Keywords: H{\'e}lio Oiticica, Mangueira, popular culture, carnival.",
keywords = "H{\'e}lio Oiticica, Mangueira, Popular Culture, Carnival, Brazil",
author = "Carla Hermann",
year = "2020",
month = may,
day = "25",
doi = "10.12957/concinnitas.2020.51055",
language = "Portugiesisch",
volume = "21",
pages = "62--83",
journal = "Concinnitas",
issn = "1981-9897",
number = "37",
}
@phdthesis{777aaa3954fb4f3da2750792880f07d4,
title = "O Rio de Janeiro para ingl{\^e}s ver: O panorama de Robert Burford em Londres, 1827",
abstract = "The research is about Description of a view of the city of St. Sebastian, and the Bay of Rio Janeiro, a panorama painting of Robert Burford, exhibited between 1827 and 1828 in a rotunda of his propriety, located in Leicester Square, London, the most important panoramic venue of its time. The analysis starts with the remaining engraving of the painting, an image that was sold along with a booklet to the patrons of the exhibitions. This booklet allowed people to navigate through the view and orientate themselves. A review of every publication and the critical analysis of both image and text comes next, as well as the search for commentaries and reviews printed in newspaper and periodicals of the time. If follows inquiries about the authorship of the original drawing to better understand the object. Despite the panoramas are the most important artistic medium of the Nineteenth century, it is a subject that is under studied in Brazil. For that, the thesis brings briefly its history, with information about its invention by Robert Barker in 1787. It also brings information about the typical architecture of the rotundas, the experience of the panorama spectator and the idea of the panoramas as travel substitutes. For further understanding the image that Burford built for Rio, the research has theoretical readings about the relationship between landscape and power, with focus on art and the British informal empire, the context within the carioca image belongs to. Finally it compares Rio to other compositions of Burford (Mexico City, 1823, Genova 1828, Sydney 1829, Lima 1836); with other panoramas of Rio de Janeiro exhibited in European rotundas in the Nineteenth century (Felix-{\'E}mile Taunay´ s Rio de Janeiro Panorama, exhibited in Paris in 1824 e Victor Meirelles and Henri Charles Langerock, Rio de Janeiro Panorama, exhibited in Brussels and Paris in 1888-9); or yet, with other panoramic representations of the Guanabara Bay (William Alexander, 1792, Henry Chamberlain, c. 1822 e Emeric Essex Vidal, 1834).",
author = "Carla Hermann",
year = "2018",
language = "Portugiesisch (Brasilien)",
publisher = "Programa de P{\'o}s-Gradua{\c c}{\~a}o em Artes",
school = "Universidade do Estado do Rio de Janeiro",
}
@article{81859fa78e154e3f91fd3fcaee5d97c7,
title = "Landscape and power: Taunay's and Burford's panoramas of Rio de Janeiro in Paris and London in the first half of the Nineteenth century",
abstract = "There were only two panorama paintings of Rio de Janeiro exhibited in European rotundas in the first half of the Nineteenth Century. They were a view from the Bay of Guanabara displayed by Robert Burford in London's Leicester Square rotunda in 1827 and a view from the top of the Carioca Hill, originally drawn by F{\'e}lix-{\'E}mile Taunay in 1822 and exhibited in the Passage des Panoramas in Paris in 1824. The paper aims to understand the agenda behind the representations on the two sights. Because they both represented manners of dominance over the faraway city of Rio, I compare and analyze the different choices made by the artists as well as their marketing strategies, and the political and economic motivations behind each one.",
author = "Carla Hermann",
year = "2017",
month = apr,
day = "5",
doi = "10.4000/artelogie.796",
language = "English",
journal = "Artelogie",
issn = "2115-6395",
number = "10",
}
@article{01f544a02dcb4b49a6fe62adb5426fd9,
title = "A Cultura Popular vai ao Museu: A Tropic{\'a}lia de H{\'e}lio Oiticica",
author = "Carla Hermann",
year = "2010",
month = may,
day = "1",
doi = "10.12957/tecap.2010.12147",
language = "Portugiesisch (Brasilien)",
volume = "7",
pages = "213--224",
journal = "Textos Escolhidos De Cultura E Arte Populares",
issn = "1980-3281",
number = "1",
}