Grand Tour in the context of "Neoclassicism"

⭐ In the context of Neoclassicism, the Grand Tour is considered a key factor in the movement’s expansion because it…

Ad spacer

⭐ Core Definition: Grand Tour

The Grand Tour was the principally 17th- to early 19th-century custom of a traditional trip through Europe, with Italy as a key destination, undertaken by upper-class young European men of sufficient means and rank (typically accompanied by a tutor or family member) when they had come of age (about 21 years old). The custom—which flourished from about 1660 until the advent of large-scale rail transport in the 1840s and was associated with a standard itinerary—served as an educational rite of passage. Though it was primarily associated with the British nobility and wealthy landed gentry, similar trips were made by wealthy young men of other Protestant Northern European nations, and, from the second half of the 18th century, by some North and South Americans.

By the mid-18th century, the Grand Tour had become a regular feature of aristocratic education in Central Europe as well, although it was restricted to the higher nobility. The tradition declined in Europe as enthusiasm for classical culture waned, and with the advent of accessible rail and steamship travel—an era in which Thomas Cook made the "Cook's Tour" of early mass tourism a byword starting in the 1870s. However, with the rise of industrialization in the United States in the 19th century, American Gilded Age nouveau riche adopted the Grand Tour for both sexes and among those of more advanced years as a means of gaining both exposure and association with the sophistication of Europe. Even those of lesser means sought to mimic the pilgrimage, as satirized in Mark Twain's popular travel book The Innocents Abroad in 1869.

↓ Menu

>>>PUT SHARE BUTTONS HERE<<<

👉 Grand Tour in the context of Neoclassicism

Neoclassicism, also spelled Neo-classicism, emerged as a Western cultural movement in the decorative and visual arts, literature, theatre, music, and architecture that drew inspiration from the art and culture of classical antiquity. Neoclassicism was born in Rome, largely due to the writings of Johann Joachim Winckelmann during the rediscovery of Pompeii and Herculaneum. Its popularity expanded throughout Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals. The main Neoclassical movement emerged from the 18th-century Age of Enlightenment, and reached its peak in the early-to-mid-19th century, eventually competing with Romanticism. In architecture, the style endured throughout the 19th, 20th, and into the 21st century.

European Neoclassicism in the visual arts began c. 1760 in opposition to the then-dominant Rococo style. Rococo architecture emphasizes grace, ornamentation and asymmetry; Neoclassical architecture is based on the principles of simplicity and symmetry, which were seen as virtues of the arts of Ancient Rome and Ancient Greece, and drawn directly from 16th-century Renaissance Classicism. Each "neo"-classicism movement selects some models among the range of possible classics that are available to it, and ignores others. Between 1765 and 1830, Neoclassical proponents—writers, speakers, patrons, collectors, artists and sculptors—paid homage to an idea of the artistic generation associated with Phidias, but sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. They ignored both Archaic Greek art and the works of late antiquity. The discovery of ancient Palmyra's "Rococo" art through engravings in Robert Wood's The Ruins of Palmyra came as a revelation. With Greece largely unexplored and considered a dangerous territory of the Ottoman Empire, Neoclassicists' appreciation of Greek architecture was predominantly mediated through drawings and engravings which were subtly smoothed and regularized, "corrected" and "restored" monuments of Greece, not always consciously.

↓ Explore More Topics
In this Dossier

Grand Tour in the context of Thomas Nugent (travel writer)

Thomas Nugent (c. 1700 – 27 April 1772 in Gray's Inn, London) was an erudite Irish historian and travel writer. Today he is best known for his travelogue of the Grand Tour, which was at that time popular particularly among English noblemen taking educational tours through Europe. His detailed descriptions of the France, Italy, Germany, and the Netherlands of the time provide a rich source for historians of the situation in the second half of the 18th century.

↑ Return to Menu

Grand Tour in the context of Distinction (sociology)

In sociology, distinction is a social force whereby people use various strategies—consciously or not—to differentiate and distance themselves from others in society, and to assign themselves greater value in the process. In Distinction: A Social Critique of the Judgement of Taste (La Distinction, 1979), Pierre Bourdieu described how those in power define aesthetic concepts like "good taste", with the consequence that the social class of a person tends to predict and in fact determine his or her cultural interests, likes, and dislikes.

Political and socio-economic, racial and gender distinctions, based upon social class, are reinforced in daily life within society. In The Rebel Sell: Why the Culture Can't be Jammed (2004), Joseph Heath and Andrew Potter describe "distinction" as a social competition in which the styles of social fashion are in continual development, and that the men and women who do not follow the development of social trends soon become stale, and irrelevant to their social-class stratum.

↑ Return to Menu

Grand Tour in the context of Painshill

Painshill (formally Painshill Park) is a restored, 18th-century English park and landscape garden in Cobham, Surrey, England. It was created between 1738 and 1773 by the owner, Charles Hamilton, from an area of heathland and woodland. Painshill is laid out as a series of scenes, crafted by combining architectural features with trees and shrubs, many of which are non-native species. Several of the surviving follies are listed in their own right, including the Gothic Tower, at the western end of the park, and the Gothic Temple, which overlooks the northern part of the lake. The Grotto, the largest in England, is decorated with crystalline mineral stones, including quartz, feldspar and Blue John.

In designing Painshill, Hamilton was influenced by 17th-century landscape artists, whose works he had encountered on Grand Tours in continental Europe. Instead of trying to replicate specific artworks, Hamilton used the techniques of landscape painting to create scenes with contrasting emotional tones – from the solemnity of the dark evergreens surrounding the Mausoleum, to the brighter trees and flowers at the Temple of Bacchus. Advocates of the Picturesque were complimentary of Hamilton's work, particularly the hillier, western half of the park, which Horace Walpole likened to a "kind of Alpine scene". International visitors to the park and garden included John Adams, the future American president, who wrote that "Paines Hill is the most striking piece of art that I have yet seen."

↑ Return to Menu

Grand Tour in the context of Stabiae

Stabiae (Latin: [ˈstabɪ.ae̯]) was an ancient city situated near the modern town of Castellammare di Stabia and approximately 4.5 km (2.79 miles) southwest of Pompeii. Like Pompeii, and being only 16 km (9.9 mi) from Mount Vesuvius, it was largely buried by tephra ash in the 79 AD eruption of Mount Vesuvius, in this case at a shallower depth of up to 5 m.

Stabiae is most famous for the Roman villas found near the ancient city which are regarded as some of the most stunning architectural and artistic remains from any Roman villas. They are the largest concentration of excellently preserved, enormous, elite seaside villas known in the Roman world. The villas were sited on a 50 m high headland overlooking the Gulf of Naples. Although it was discovered before Pompeii in 1749, unlike Pompeii and Herculaneum, Stabiae was reburied by 1782 and so failed to establish itself as a destination for travelers on the Grand Tour.

↑ Return to Menu

Grand Tour in the context of Thomas Howard, Earl of Arundel

Thomas Howard, 14th Earl of Arundel KG, (7 July 1585 – 4 October 1646) was an English magistrate, diplomat and courtier who lived during the reigns of James I and Charles I. He made his name as a Grand Tourist and art collector rather than as a politician. When he died he possessed 700 paintings, along with large collections of sculptures, books, prints, drawings, and antique jewellery. Most of his collection of marble carvings, known as the Arundel marbles, was eventually left to the University of Oxford.

He is sometimes referred to as the 21st Earl of Arundel, ignoring the supposed second creation of 1289, or the 2nd Earl of Arundel, the latter numbering depending on whether one views the earldom obtained by his father as a new creation or not. He was also 2nd or 4th Earl of Surrey; and was later created 1st Earl of Norfolk (5th creation). He is also known as "the Collector Earl".

↑ Return to Menu

Grand Tour in the context of Joseph Smith (1682–1770)

Joseph Smith (c. 1682 – Venice, 6 November 1770), often known as Consul Smith, was the British consul at Venice from 1744 to 1760. He was a patron of artists, most notably Canaletto, a collector and connoisseur, banker to the British community at Venice, and a major draw on the British Grand Tour. His collection of drawings was bought for George III of Great Britain and forms a nucleus of the Royal Collection of drawings in the Print Room at Windsor Castle.

↑ Return to Menu