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From the sixteenth to the twentieth century, artists who traveled and drew or painted landscapes abroad were frequently suspected of being spies, particularly if they spent time in tense political situations in border regions, near fortresses, or the on front lines of wars. More than 240 reports of such allegations have been preserved. Ulrike Boskamp shows how artists made use of these topical anecdotes Accusations of spying directed at a means of (self-)staging and what artists are thus analyzed for the first drawings were connected with sus-time and the interface between artistic picions of espionage. The sources and military use of pictures is simultasimultaneously provide access to the neously examined. military dimension of historical landscapes and their social geography, Ulrike Boskamp, particularly with respect to how topo-Berlin graphical image media were dealt with and their relevance for the military.
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