ABSTRACT
Visual representations form a vital part of the multiple and interwoven practices of mobility, the physical movement of people and objects as well as the imaginative, virtual, and communicative surpassing of distances. Drawing on the exemplary case of European travelers’ representations of the Dardanelles in the seventeenth and early eighteenth centuries, the article examines the linkages between visual arts and traveling. Particularly focusing on the institutional and organizational frameworks of mobility, it links the conceptual framework of mobility studies with art historical materials and questions.
