Academic literature on the topic 'Kavalierstour'

The following seminar-paper is about the Grand Tour of European nobleman in the early modern period. It will examine, which cultural aspects were primarily perceived by the travelers and which evidences of feelings of “strangeness” or “otherness” appear in their travel reports. As will be shown, the travelers paid a lot of attention to architecture and historiography, but there is hardly any evidence of feelings of otherness regarding these topics, whereas language, clothing and cuisine are hardly ever mentioned but if they are, it always happens in a context, in which the travelers experienced alterity.

Detaillierte Kenntnisse über die Kavaliersreise, die Andreas Gryphius 1644–1647 an der Seite des Pommerschen Adeligen Wilhelm Schlegel unternommen hat, liegen bis heute kaum vor. Unter den wenigen Gedichten, die unmittelbar als Reisereflexe erkennbar sind, fällt eine Gruppe von Trauergedichten auf, die auf das Ableben des sonst in Gryphius’ Leben nicht in Erscheinung getretenen Wolfgang Jacob von Gera bezogen sind. Der nachfolgende Aufsatz unternimmt den Versuch, sowohl die näheren Umstände des Ablebens von Gera im Jahr 1646 in Straßburg als auch weitere Details zur Kavalierstour und zu den möglichen Aufgaben von Gryphius auf dieser Reise als Hofmeister Schlegels zu recherchieren, um die Ergebnisse zu einer wechselseitigen Erhellung der Kavaliersreise und von Gryphius’ Trauerarbeit auf Reisen im Fall Geras zu nutzen.

Johann Caspar Goethe’s Viaggio per l’Italia (1740) is a fascinating work. Today, it certainly deserves new assessments and interpretations engaging with the taste of a jurist and connoisseur of classical antiquity who was interested in Italy’s history of manners and arts. A committed Lutheran himself, he overtly criticized morals and Catholicism, thus providing valuable insights into early 18th century culture, which was still dominated by the models of Kavalierstour. Throughout the book, written in epistolary form, Johann Caspar Goethe does not mince words when he minces those who keep the people in a state of minority, especially in the Southern parts of the country. His travel report was rediscovered and edited by Arturo Farinelli in two volumes in 1932. It belonged to the books that Goethe’s father made use of to foster his son’s passion for Italy. The article sets out to retrace some steps of the journey focussing on issues of style and external intertextuality.

La Provence n’est pas une destination traditionnellement associée avec la peinture allemande. Pourtant, cette région attire les peintres déjà au siècle des Lumières. Les vestiges romains et le souvenir de Pétrarque en font une étape du Grand Tour ainsi que du Kavalierstour. Les artistes allemands, si nombreux à aller en Italie, commencent aussi à remarquer le sud de la France. Les raisons qui les poussent à entreprendre ce voyage sont variées : pour les peintres au XVIIIe siècle, comme Jakob Philipp Hackert, il s’agit d’une escale en route vers l’Italie qui donne déjà un avant-goût de la péninsule. Johann Georg von Dillis et Ludwig Richter se rendent en Provence au début du XIXe siècle dans le cadre d’un voyage princier. Puis, au milieu du siècle, Johann Wilhelm Schirmer choisit consciemment de parcourir le sud de la France et découvre alors une nature différente de celle de l’Italie. Cette étude a pour but d’établir un corpus d’œuvre, permettant à la fois de documenter la présence d’artistes allemands en Provence, mais aussi de dégager les motivations derrière le voyage, et de montrer comment leur perception de la nature provençale évolue du XVIIIe au XIXe siècle. Ce travail propose une analyse de la place de cette région dans l’histoire artistique, culturelle et littéraire et examine les sources littéraires et visuelles dont les artistes allemands avaient pu avoir connaissance. Les différents cas d’artistes étudiés montrent l’évolution du regard artistique allemand sur la Provence et illustrent la difficulté de faire entrer ce territoire dans les canons de l’époque ce qui s’exprime particulièrement dans la peinture allemande<br>Provence is not a destination traditionally associated with German painting. Yet, this region has attracted painters from the eighteenth century onwards. Roman remains and the memory of Petrarch make it a stop on the Grand Tour and on the Kavalierstour. German artists, who were going to Italy in large numbers, paid increasing attention to the South of France by the end of the eighteenth century. The reasons that motivated them to undertake such a voyage were varied: for painters such as Jakob Philip Hackert, it is a station on the way to Italy that gives them a foretaste of the peninsula. Johann Georg von Dillis and Ludwig Richter go to the South of France at the beginning of the nineteenth century as part of princely travels. Then, in the middle of the century, Johann Wilhelm Schirmer makes the conscious decision of touring Provence in search of natural scenery different from Italy’s. The present study aims to establish a body of work documenting the presence of German artists in the South of France, and also to identify what motivated the journey, in order to demonstrate how their perception of Provence evolved from the eighteenth to the nineteenth century. The aim is to analyze the place of this region in artistic, cultural and literary history, and to identify the visual and literary sources that German artists could rely on during their voyage. The different case studies serve to demonstrate the evolution of the Germanic artistic gaze on Provence, and to illustrate the difficult entry of this territory into the canons of the period, which is particularly notable in the context of German painting