John Banvard
John Banvard (November 15, 1815 – May 16, 1891) was a panorama and portrait painter known for his panoramic views of the Mississippi River Valley. He was a pioneer in moving panoramic paintings.
Biography
John Banvard was born in New York and was educated in high school. When his father went bankrupt, he began to travel around the United States, and supported himself with paintings he exhibited.
In 1840, he began to paint large panoramas of the whole Mississippi River valley. He traveled through the area in a boat, made preliminary drawings and supported himself with paintings and hunting. He combined the preliminary sketches and transferred them to a canvas in a building erected for this purpose in Louisville, Kentucky. His largest panorama began as 12 feet (3,6 m) high and 1,300 feet (369 m) long and was eventually expanded to about half a mile (about 800 meters) although it was advertised as a "three-mile canvas". It toured around the nation, and was eventually cut up into hundreds of pieces, none of which still exist today.
Scientific American magazine published a piece under "New Inventions" in its issue of December 16, 1848, describing and illustrating Banvard's mechanism for displaying a moving panorama.
He premiered his panorama of the Mississippi in Boston in December 1846.<ref>Daily Evening Transcript (Boston, Mass.), 16 December 1846, p. 2.</ref> After a run of nearly a year, he took the production to New York City<ref>Evening Post (New York, NY), 28 December 1847, p. 2.</ref> and then to Europe,<ref>Adelaide Observer, Saturday 26 May 1849. Copy of article from the London Spectator url=https://nla.gov.au/nla.news-article158927603</ref> Asia, and Africa and even gave Queen Victoria a private viewing. His portrait was painted in 1849 by the English artist Anna Mary Howitt.<ref>Retrieved 9 July 2011.</ref>
During his travels, he also painted panoramas in Palestine and the Nile River Valley.
Banvard had a rivalry with panorama performers John Rowson Smith and Richard Risley Carlisle. Banvard called them imitators and "unprincipled persons".<ref>Hanners, John. "It was Play Or Starve": Acting in the Nineteenth Century American Popular Theatre. Bowling Green State University Popular Press, 1993: 51. Template:ISBN</ref> They in turn referred to the "crude efforts of the uncultivated artist" Banvard.<ref>Huhtamo, Erkki. Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles. Cambridge, MA: MIT Press, 2013: 187–188. Template:ISBN</ref> Banvard suggested that Smith and Carlisle's panorama was actually painted by George Catlin, who had copied the image after his own panorama.<ref>Hanners, John. "It was Play Or Starve": Acting in the Nineteenth Century American Popular Theatre. Bowling Green State University Popular Press, 1993: 51–52. Template:ISBN</ref>
On his return he invested part of the fortune he had made in Template:Convert overlooking Cold Spring Harbor on the North Shore of Long Island, where in 1852-55, in competition with P. T. Barnum's palace "Iranistan" in Bridgeport, Connecticut, he proceeded to design and have built a baronial residence from its eastern shore, which, it was given out, was intended to resemble Windsor Castle; he named the place Glenada, the glen of his daughter Ada, but the locals called it "Banvard's Folly".<ref>John Hanners, "It was play or starve: acting in the nineteenth century American popular theater", (Bowling Green State University Popular Press) 1993, pp. 71f; Estelle V. Newman, "The Story of Banvard's Folly," Long Island Forum 15.5 (May 1952): 83-84 and 95-97.</ref> After his death it became a fashionable resort hotel, The Glenada.
In 1875, he published in the U.S.A. a book "The Private Life of a King"<ref>Banvard, J. The Private Life of a King: Embodying the suppressed memoirs of the Prince of Wales, afterwards George IV, of England. Now first published. … With corroborative authorities, drawn from the secret archives of the Chartists, and authentic documents in the British Museum. New York, NY, USA: The Literary and Art Publishing Company. 1875.</ref> which in large parts was plagiarised from one published<ref>Huish, R. Memoirs of George the Fourth, descriptive of the most interesting scenes of his private and public life, and the important events of his memorable reign : with characteristic sketches of all the celebrated men who were his friends and companions as a prince, and his ministers and counsellors as a monarch. Comp. from authentic sources, and documents in the King's Library in the British Museum. London, UK: T. Kelly. 1830.</ref> some years earlier in the United Kingdom.
During World War 2, a Liberty ship was named the S.S. John Banvard.<ref>Template:Cite web</ref>
The Brooklyn-based history band Pinataland recorded a song about Banvard's travails for their 2008 album "Songs for the Forgotten Future Vol. 2".
In 2016, a new musical entitled Georama: An American Panorama Told on Three Miles of Canvas premiered at the Repertory Theatre of St. Louis.<ref>georamamusical.com</ref> The musical tells Banvard's life story through his rise and fall as an artist, his conflict with P. T. Barnum and love for his wife Elizabeth. Georama was written by West Hyler, Matt Schatz, and Jack Herrick. It premiered in 2017 on August 2 through 6th at New York Musical Theatre Festival, and starred PJ Griffith, Jillian Louis, Randy Blair, and Nick Sullivan.<ref>Template:Cite web</ref>
See also
References
Further reading
- Dorothy Dondore. Banvard's Panorama and the Flowering of New England. The New England Quarterly, Vol. 11, No. 4 (Dec., 1938), pp. 817–826.
- John Hanners. A Tale of Two Artists: Anna Mary Howitt's Portrait of John Banvard. Minnesota History, Vol. 50, No. 5 (Spring, 1987), pp. 204–208.
- Template:Cite BDA1906
- Paul S. Collins. Banvard's Folly: Thirteen Tales of People Who Didn't Change the World (Template:ISBN).
- "The Holy Land" Gleason's Pictorial Drawing-Room Companion Vol. 7 No. 25 (1854-12-23):388-9. Online at Internet Archive.
- "Banvard, the Artist, and His Residence" Ballou's Pictorial Drawing-Room Companion Vol. 12 No. 20 (1857-05-16):312. Online at Internet Archive.