While there have been monographs on British artist-travellers in the eighteenth and early nineteenth centuries, there has been no equivalent survey of what the writer, Henry Blackburn, described as ?artistic travel? a hundred years later. By 1900, the ?Grand Tourist? became a ?globe-trotter? equipped with a camera, and despite the development of ?knapsack photography?, visual recording by the old media of oil and watercolour on-the-spot sketching remained ever-popular.00Kenneth McConkey?s new book explores the complex reasons for this in a series of chapters that take the reader from southern Europe to north Africa, the Middle East, India and Japan revealing many artist-travellers whose lives and works are scarcely remembered today. He alerts us to a generation of painters, trained in academies and artists? colonies in Europe that acted as crèches for those would go on to explore life and landscape further afield. The seeds of wanderlust were sown in student years in places where tuition was conducted in French or German, and models were often 0Spanish, Italian, or North African. At first the countries of western Europe were explored 0afresh and cities like Tangier became artists? haunts. Training that prioritized plein air naturalism led to the common belief that a well-schooled young painter should be capable of working anywhere, and in any circumstances.00This richly illustrated book explores key sites visited by artist-travellers and investigates artists including Frank Brangwyn, Mary Cameron, Alfred East, John Lavery, Arthur Melville, Mortimer Menpes, as well as other under-researched British artists. Drawing the strands together, it redefines the picturesque, by considering issues of visualization and verisimilitude, dissemination and aesthetic value.