Mobility and the experience of nature are two pivotal issues for landscape art in the 19th century. Trips, both near and far, led to new artistic work practices and helped studies in oils, for example, to achieve great popularity. Moreover, an increasing love of travel – propagated, for instance, as early as 1800 in Pierre-Henri de Valenciennes’ famous manual – was considered ideal for the formative training and identity building of a landscape painter. The desire to be close to nature, the search for the new, and the need for artistic exchange made landscape painting into a European form of art par excellence.
In the present volume, renowned, international experts examine the unusual working situations of traveling landscape painters and their yearning for unknown sources of inspiration near and far. They address the artistic strategies employed to attain this closeness, both drawn and painted. Ultimately, the new working methods acquired while traveling would lead to a new form of landscape painting.