Étienne Dupérac (French, ca. 1535–1604), Vestigii Panteone di M. Agrippa (Remains of the Pantheon of Marcus Agrippa), 1575. From the Veduta tratta
dall’opera I vestigi dell’antichità di Roma raccolti et ritratti in perspettiva. Engraving on paper, 8 ½ x 15 inches. Jundt Art Museum, Gonzaga University;
Museum purchase with funds provided by the Fredrick & Genevieve Schlatter Endowed Print Fund, 2019.2.
A
ccompanying the exhibition
is a 109-page catalogue-
guidebook by the museum’s
director and curator, Dr. Paul
A. Manoguerra, with artists’
bios and important contextual
information. Whimsically
but intentionally, it is bound
in a slim format resembling
a Michelin Guide. A display
case contains several travel
Giovanni Battista Piranesi
(Italian, 1720–1778),
Veduta di Castel S. Angelo,
1745. From Varie vedute
di Roma antica e moderna,
published 1752. Etching
on paper, 5 1/4 x 7 3/8
inches. Jundt Art Museum,
Gonzaga University; The
Bolker Collection: Gift of
Norman and Esther Bolker,
1984.5.220R.
guidebooks from the 19th century.
The exhibition’s title derives from the “Grand Tour” of Europe during the 16th to 18th centuries, when (preeminently) young
English gentlemen toured and sojourned on the Continent to complement and enhance their classical and world-wise education.
No quick sightseeing trip, travel was slow by our standards and could be dangerous. 2
The idea was to visit the important centers of art and learning and stay for extended periods, where one could make personal
connections and acquire things to bring home, such as works of art. Grand Tourists were encouraged to visit artists in their
studios. 3 The Tour could last several years. The heart of the Tour lay in Italy: Venice, Florence, and especially Rome. 4 As the
Grand Tourists grew in numbers, so did a tourism industry, including the proliferation of travel books and prints of notable
monuments, a number of which are included in the exhibition (the only Italian views by Italian artists).
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ART CHOWDER MAGAZINE