Abstract
Through the examination of drawings and travel journals, this article questions the place and role of the traveller-artist in the 19th century. It examines the links between the practice of art and memory, the act of drawing and the physical suffering caused by travel, experience and distance. Through the cases of Johann Moritz Rugendas, Léon Pallière and Auguste Borget, the article highlights travelling painters who, although beneficiaries of a tradition of illustration with documentary value, turned towards modernity and a need for creation and expression specific to their individuality.
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