Arts-tourism-Review-Articles

 The desire to see, experience and know art is mostly created in the art world rather than the tourism industry, although of course, they blur into one another (Bennett, 1995; Foster, 2015; Smith, 2012). Artists, critics, galleries and a multitude of exhibitionary platforms engender this desire, and the capacity for most people to engage with art in these ways is not restricted to periods of travel away from home – yet at the same time, the capacity to see a great deal of desirable art that cannot or rarely moves does involve travel (JagodziÅ„ska, 2018). It will be shown how since classical times art has been identified as an important self-standing form of thinking, representation and expression, and recognised advances/discoveries and developments in these techniques have drawn people to visit neighbouring and even very distant cities and regions both as professional artists, architects and designers (or collectors and exhibitors) or as people seeking self-improvement. I will show that since the cultural efflorescence in fifth-century Athens (if not even earlier in Egypt), city and nation states have endorsed and promoted such travel, and how those models and even those routes were foundational for the Grand Tour and eventual development of modern tourism.

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