Viagg io Italia no

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The traveler sees what he sees, the tourist see what he has come to see.

Gilbert Keith Chesterton 1874-1936 British journalist, scholar, novelist and short-story writer, and poet.

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www.proverbia.net/citasautor.asp

In August 2011, 33 students their teachers, a random elderly couple, and a soldier set out on a European tour of Germany, The Czech Republic and Italy. They had come to see art!

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Centuries earlier, the British traveler Charles Thompson in 1744 described himself as being impatiently desirous of viewing a country so famous in history, which once gave laws to the world; which is at present the great school of music and painting, contains the noblest productions of statuary and architecture, and abounds with cabinets of rarities, and collections of all kinds of antiquities. ( Black 1985:6). 5/4/12
www.placenetwork.info/article/entr

He was of course talking about Italy

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In 1776 Samuel Johnson observed, "A man who has not been in Italy, is always conscious of an inferiority, from his not having seen what it is expected a man should see( In Our Time The grand Tour, 2011)

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Gasper van Wittel, Il bacino di San Marco con la

Philip Wickstead The Grand Tour Group, 1773

Johnson was referring to the Grand Tour - essentially a journey through France and Italy, conducted by wealthy young men that reached its height in the 18th century. Its significance was not as a physical journey however; it was as a cultural rite of passage, an experience which enabled the young aristocratic to discover the high art and culture of Europe. 5/4/12

www.memoryprints.com/search/keywords/gra

While undertaking this cultural pilgrimage, young gentlemen were coming of age as collectors, patrons, politicians, scholars, and socialites.

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Sir Joshua Reynolds, Diletantti Members

The most popular destinations were the great towns and cities of the Renaissance,along withthe remains of ancient civilizations. Italy was the dominant centre of Classical culture and travel there was seen as a crucial demonstration and source of taste.

Bernardo Bellotto, Ruins and Figures, Outskirts of Rome near the Tomb of Cecilia Metellaby 5/4/12

One such grand tourist was DeJohann Goethe who visited Italy in 1786. On viewing classical ruins Goethe wrote:

Johann Heinrich Tischbein Goethe in the Roman Campagna, 1786,

It allows me to put together into a coherent whole those aspects of the

classical tradition that I understood only in fragments and chaotically. 5/4/12 De-Johann von Goethe

For me, the physical and immediate experience of viewing European Masterpieces first hand was a revelation in the materiality of paint application. Like seeing the artists hand- writing. Like Goethe I felt a new understanding and appreciation of art history.

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For the grand tourist art also made a powerful and positive impression. Many tourists purchased paintings and commissioned portraits, hoping to record their experience abroad and to leave a mark on history. The portrait painter of the moment was Pompeo Batoni who was known for his dramatic portraits in classical surroundings. Batoni captured the tourists In elevating poses, displaying the learning, clothes, and fineries they had 5/4/12 acquired on their trip. There are records of over 200 portraits by Batoni.

Charles Cecil Roberts by Pompeo Batoni

The obsession for the antique is reflected in the setting for tourist portraits by Pompeo Batoni. Batoni's grand decorative schemes and altarpieces show the influence of the antique. The fact that some his sitters wear uniforms, and General Gordon, full Highland dress, costume which would not normally have been carried en route, suggests that many of his English patrons went 5/4/12 with the express intention of being painted by him. to Rome

John Talbot by Pompeo Batoni 1773

General William Gordon by Batoni 1765

www.artcyclopedia.com/artists/batoni_pompeo.h

Today, experiences are still translated into images. The fleeting nature of observation means we cant rely on memories alone. Photography, is of course, the current visual medium. Unlike the unique and particular nature of Batonis portraiture painting, which provides one composite understanding of an experience or event, the camera, perpetually records and compiles multiple presentations of todays journey.

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James Russel, British connoisseurs in Rome 1750

Sleeping beauties

This painting by Russel is the perfect analogy to those tourists of the today who feel an overwhelming need to have their picture taken next to, in front of, whatever famous site they are currently visiting, partly to ensure that no one, including themselves, doubts that they 5/4/12 have actually been there. Professor Kathleen

www.artchive.com/web_gallery/J/Johann-Zoffany

 people quickly discovered that nobody takes the same picture of the same thing, the supposition that cameras furnish an impersonal, objective image yields to the fact that photographs are evidence not only of what's there but of what5/4/12 an individual sees, not just a record but an evaluation of the world Susan

Susan Sontag in On Photography speaks of photograph-trophies she says photographs will offer indisputable evidence that the trip was made, that the programme was carried out, that fun was had.

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Photography and the travel journal used by grand tourists and by us today become a rich and indelible source for future reflection.

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Travel Diary of S. Shurtleff 1899

http://news.harvard.edu/gazette/st

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Grand Tourists were keen to record what they were seeing, and, lacking the cameras of todays tourists, they were reduced to drawing the sights themselves. This was, of course, a period when all educated English men and women were taught how to draw, so that the idea of picking up a pencil or pen Being natural one. was a art students it was interesting to note the different approaches used by our group to record events, from Meredith and Amandas diligent drawings, Michelles concise dot points, to late night dear diary entries

Grand Tourists made an indelible impact on local artistic practice. Their shared passion for the country's topography spurred the development of a new genre of expansive views of Italy known as Vedute, an arthistorical term used for drawings, paintings, and prints capturing landscape views.

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Vedute served as visual records of the sites encountered by Grand Tourists, as well as status symbols on the walls of the Grand Tourists' homes. The English formed their views of Italy by viewing these pictures, and engravings which circulated in books. They then decided to go to Italy to see these views for themselves. At this time an interest in the ancient classical world was at its peak. What they primarily wanted to see were the remains of the ancient world. This was the period dominated by the so-called cult of the Antique.

Giovanni Battista Piranesi,View of the Temple of Hercules in the City of Cora, Ten Miles From Velletri]

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www.georgeglazer.com/prints/

Giovanni Canoletto, La punta della Dogana(Custom Point): 1726-28.

Trained as a scene painter, by 1725 Canoletto was specializing in vedute topographically exact records of the city, its canals and churches, festivals and 5/4/12 ceremonies. http://hoocher.com/Giovanni_Antonio_Canal

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In the 17th or 18th centuries our group of students would be known as bear cubs and our Professor, Craig would be our Bear leader. The bear-leader was often an aspiring academic or schoolmaster, this role combines elements of guardian, tutor, chaperon and companion. The bearleader organized visits to churches, royal palaces and other public buildings as well as homes of noble men, paying particular attention to their art collections. In the 18th century works of art were nearly all in private homes, although they were generally

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Our Bear leader provided us with the right credentials, The Venice Biennale Pass. This way we avoided the crowds

The Pass allows entry into the two major sites for the Biennale , The Giardini and the Arsenale as well as 37 collateral events. Viewing 5/4/12Biennale is a walk through history and art. the

M. Gilbert

The green oasis of the Giardini 5/4/12

Decay and dissolution in Venice are somehow more beautiful than the most splendid edifices elsewhere (Ackroyd, 2010) 5/4/12

This environment of disintegration, faded patinas and crumbling facades created a dramatic backdrop for the contemporary art of the Venice biennale.

M. Gilbert

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In response, the artwork, seemed to activate the historical spaces it was presented in.

Tamara Kvesitadze, Sphere 2011

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unlikely, serendipitous and informative links between old and new are created.

Koen Vanmechelen, Cosmopolitian chicken research project

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Karla Black installation, Venice Biennale 2011

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Director Bice Curiger acknowledged the Venetian history. Including three major 16th century works by Tintoretto reminded us of the cities art historical glories. In her introduction text Curiger said, ILLUMInations emphasize the intuitive insight and the illumination of thought that is fostered by an encounter with art.

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Examining the Last Supper, 1592-94, one of the last works by Tintoretto, from the San Giorgio Maggiore Basilica.

Grand Tourists were expected to return home with mementos and souvenirs of their travels as well as an appreciation of art and architecture formed by exposure to great masterpieces.

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www.artchive.com/web_gallery/J/Johann-Zoffany/Johann

Johann Zoffany, Charles Towneley and friends in his library at 7 Park Street.

Their encounter with art, architecture and ancient culture was hugely influential in terms of Britains cultural, social, political, architectural, gastronomic, sartorial and artistic evolution. 5/4/12

Our trip was about encounters. Like the grand tourists who associated travel with selfimprovement and personal enlightenment, we took inspiration from the wonders of art, architecture, history and each other. Has the experience changed us? Perhaps the answer is in the words of this art work by MaurizioNannucci we viewed in Venice at the Peggy Guggenheim Museum.

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MaurizioNannucci 2003

Reference List
Ackroyd, P 2010, Venice Pure City, Vintage Books, London. Black, J 1985, The British and the Grand Tour, Croom Helm, London. Brown, I 2011, The Age of the Grand Tour Eighteenth-Century Life, vol 30, Ben hono.3, p. 1-50. From Project Muse. Burk, K, The Grand tour of Europe retrieved August 12th, 2011, from http://www.gresham.ac.uk/lectures-and-events/the-grand-tour-ofChaney, E 1998, The Evolution of the Grand Tour,,Routledge, New York Crowther, P 2007, Defining Art, Creating the Canon: Artistic value in an era of Doubt, British Society of Aesthetics, vol. 48, no 4, pp. 457-459 from Oxford Journals. Curiger, B 2011, Outline of the 54th International Art Exhibition retrieved August 12th from http://www.labiennale.org/en/art/news/illuminations.html Gayford, M 2008, Pompeo Batoni: the Brits who marched on Rome The Telegraph, 26th January 2008, Retrieved August 18th, from www.telegraph.co.uk/culture/art/3670722 Gibson, E 1764, Brian Fagan, From Stonehenge to Samarkand. An Anthology of Archaeological Travel Writing, Oxford University Press, 2006 Howard, D 2002, The Architectural History of Venice, Yale University Press London. Hoyle, B 2011,celebrities and super rich change the face of Venices 116 year old Biennale The Australian 6th June, retrieved August 10th from http://www.theaustralian.com.au/news/executive-lifestyle/celebrities-andIn Our Time The Grand Tour 2011, radio Program, BBC Radio, London. Retrieved September 12th from http://www.bbc.co.uk/ Kevin McClouds Grand Tour of Europe 2010, television program, SBS Television, 2nd February 2010. Sontag, S 1977, On Photography, Penguin, New York, NY, Withey, L 1997, Grand Tours and Cooks Tours A history of Leisure Travel 1750 to 1915, William Morrow and Company, INC, New York.

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Visual Reference List (in order of appearance)

Labruzzi, Carlo 1795,Via Appia Illustrata Urbe RomaRetrieved 21st September 2011 from www.placenetwork.info/article/entry/admin/2010/08/rome/ Van Wittel, Gasper 1707, Il Bacino di San Marco con la Piazzetta, viewed 4th September from www.treccani.it/scuola/maturita/materiale_didattico/viaggio_e_arte/6.html Wickstead, Philip 1773, The Grand Tour Retrieved 4th September 2011 from www.bridgemanart.com/image/Wickstead-Philip-fl-1773/The-Grand-Tour-Group-oil-on-canvas/a3545f Reynolds, Sir Joshua 1734, Diletantti MembersRetrieved 4th September 2011 from http://londongrandtour.wordpress.com/2010/12/15/dilettanti-amp-debauchery/ Bellotto, B 1750-1775, Ruins and Figures, outskirts of Rome near he Tomb of Cecilia Metella Retrieved 7th September 2011 www.bbc.co.uk/arts/yourpaintings/paintings/ruins-and-figures-outskirts-of-rome-near-the-tomb-of-cecil35428 Tischbein, Johann Heinrich Wilhelm 1751-1829, Goethe in the Roman Campagna Retrieved 4th September 2011 from www.scalarchives.com/web/ricerca_risultati.asp?SC_PROV=COLL&IdCollection=81761

Batoni, Pompeo Girolamo, 1708-1787 Portrait of Charles Cecil Roberts Retrieved 10th September 2011 from www.kunst-fuer-alle.de/english/art/artist/image/pompeo-girolamo-batoni/7364/7/160499/portrait-of-charles-cecil-r Batoni, Pompeo Girolamo, 1773, Portrait of John Talbot Members Retrieved 4th September 2011 from www.museumsyndicate.com/item.php?item=6964

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Batoni, Pompeo Girolamo, 1765 Portrait of General William Gordon Retrieved 10th September 2011 from Russel, James 1750 British Gentleman in Rome, Retrieved 4th September 2011 from www.bridgemanart.com/image.aspx?key=yale%20rome&filler=CBPOIHV&thump=x150&num=15&page=9&im=1 Shurtleff, S 1899 Travel Diary Retrieved 4th September 2011 from http://news.harvard.edu/gazette/story/ Piranesi, Giovanni Battista 1760-1770,View of the Temple of Hercules in the City of Cora Retrieved 4th September 2011 from www.georgeglazer.com/prints/aanda/arch/piranesi/piraercole.html

Canaletto, Giovanni 1726-28 La Punta della Dogana (Custom Point) Retrieved 4th September 2011 from www.canalettogallery.org/La-Punta-della-Dogana-(Custom-Point).html Google earth map 2011, Venice Retrieved 12th September 2011 from http://maps.google.com.au/maps?client=safari&rls=en&q=venice&oe=UTF-8&redir_esc=&um=1&ie=UTF-8&ei=_ Zoffany, Johann 1772-8,Charles Towneley and friends in his library at 7 Park Street Retrieved 12th September 2011 from http://en.wikipedia.org/wiki/Johann_Zoffany Tintoretto, 1592-94 The Last Supper Retrieved 14th September 2011 from http://www.reuters.com/article/2011/06/15/uk-unmasking-the-venice-biennale-idUSLNE75E04320110615

Peter Jackson Collection, The Noviciate of a Macaroni, Ranelagh, 1772. Retrieved 20th September 2011 from http://www.lookandlearn.com/history-images/XJ101642/The-noviciate-of-a-Macaroni-Ranelagh-1772?img=2&searc

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