CERRO MACA BY RAMOS CATALAN

RAMOS CATALAN (1888-1961)

Cerro Macá  (2, 300m - 7, 500ft)    

Chile

In Mountains landscapes of Andes, oil on canvas,Valparaiso Art Museum / Palazzo Barburizza

The mountain 

Cerro Macá  (2, 300m - 7, 500ft) - not to be be confused with Mount Maca in Mozambique, Africa -  is a stratovolcano located to the north of the Aisen Fjord and to the east of the Moraleda Channel, in the Aysen del General Carlos Ibanez del Campo Region of Chile.  Part of the Andes, this glacier-covered volcano lies along the regional Liquiсe-Ofqui Fault Zone. It has erupted basalt.
This peak has no ascents officially registered by  professional climbers.

 Source: 

 - Peakbagger. com 

The painter 
Benito Ramos Catalán (1888-1961) was a chilean  painter who used to sign "Ramos Catalan". Known for his marines and landscapes of the Andes and Chile, and most particularly for his mountains paintings. Most of them have the same title: "Mountains of Chile" or  "Mountains landscapes of Andes", making quite difficult to know which mountain was exactly depicted, in a country which has quite a lot of summits ! To add to the difficulty, he used to paint the most famous mountains of his country under very unusual angles or with proportions that do not correspond exactly to their real size... making even more difficult to recognize and identify them for experts ! That is why today, 55 years after his death, some of these mountains paintings are not clearly identified and presented, in the public sales, as 'possibly' a particular summit of Chile or Andes...
His works are in many Chilean institutions like Viña del Mar Fine Art Museum, O'Higginiano Fine Art Museum in Talca, Valparaiso Fine Art Museum, and Navy  Schools in Valparaiso and Talcahuano, Ranos.

MONT VENTOUX PAINTED BY PAUL SURTEL

PAUL SURTEL (1893-1985)

 The mont Ventoux (1, 911m - 6, 270ft)

 France (Provence-Alpe-Côte-d'Azur)  

1. The mont Ventoux from north, oil on cardboard, Private collection, France

2.  The mont Ventoux from south-west, oil on cardboard, Private collection, France

 3. The mont Ventoux from west , oil on cardboard, (not signed), Private collection, France

 4. The mont Ventoux from south, oil on cardboard, Private collection, France

 5. The mont Ventoux from Les Alpilles,  oil on cardboard, Private collection, Switzerland

One can notice that there is not a single tree on those paintings of the Mont Ventoux, which is no longer the case today. This is the result of an intensive reforestation policy carried out by the French State services on this mountain which had been devastated by the forestry exploitation in the late 19th and the early 20th century.

The mountain 

Mont Ventoux  (1, 911m - 6, 270ft), Ventor in Latin, is located in the French department of Vaucluse (Provence-Alpes-Côte d'Azur). It is about 25 kilometers long on an east-west for 15 kilometers wide on a north-south axis. Nicknamed the Giant of Provence, it is the culmination of the Monts du Vaucluse, the ultimate link of the Southern Alps and the highest peak of Vaucluse. Its geographical isolation makes it visible over great distances.

- More about Mont Ventoux 

The painter 

Paul Surtel is a French painter and epistolier, the son of a family of coffee makers and restaurateurs living in the Paris region. Fernand Maillaud, the "good master",  a landscape painter, very good friend of Paul's father, introduced him very early to painting. In1904, Paul Surtel went up to Paris,at the Lycée Charlemagne and the Arts Décoratifs, but especially at the "l'école buissonnière", visiting  museums and exhibitions in the galleries of Paris instead to go to school ! He then became passionate for Rembrandt and especially Corot (who greatly influenced him).
At the end of the First World War, he was enlisted as an artilleryman (at the beginning of 1917). From Seine and Marne in Lorraine, Belgium, Somme, he went from offensive to cantonments. Then he allows himself to be taken back by nature, draws, leaves emotion to guide his hand, the craft acquiring itself by dint of attention and work.
Demobilized in Hyères, Paul found a forestry foreman occupation in the Var, and discovered the Provençal nature that would become the source of his work and would make him known as a "regionalist painter", a rather pejorative label to carry in France until very recently.  In 1937, during one of his first exhibitions in Oran (Algeria, at that time French department) Paul Surtel meets Elia Duc, a young teacher in a small the algerian city. They married in 1939. After that follows 48 years of passionate creation and happiness, especially in Peipin, a tiny village in the Alpes of Haute Provence where the couple settled. His paintings radiate tenderness, lightness, effusion, through impalpable matter. After two years in Quercy, then three in Orange, the family settles in Carpentras (Vaucluse), in 1951, where Elia is named professor.
From the 60s, Paul Surtel added landscapes, still-lifes and portraits.

MOUNT EREBUS BY SIR JOSEPH DALTON HOOKER

SIR JOSEPH DALTON HOOKER (1817-1911)

Mount Erebus (3,794m - 12, 448ft) 

Antarctica (Ross Island) 

 

In The HMS Erebus Voyage - Hookers's Antarctic Journal (1839-1843), watercolor, 

Royal Botanic Garden Kew, UK

The mountain 

Mount Erebus (3, 794 m - 12, 448ft), not to be confused with Mount Elbrus is the second-highest volcano in Antarctica (after Mount Sidley) and the southernmost active volcano on Earth. It is the sixth highest ultra mountain on an island, located on Ross Island, which is also home to three inactive volcanoes:  Mount Terror, Mount Bird, and Mount Terra Nova.
The volcano has been active since c. 1.3 million years ago and is the site of the Mount Erebus Volcano Observatory run by the New Mexico Institute of Mining and Technology.
Mount Erebus was discovered on January 27, 1841 (and observed to be in eruption) by polar explorer Sir James Clark Ross who named it and its companion, Mount Terror, after his ships, Erebus and Terror (which were later used by Sir John Franklin on his disastrous Arctic expedition). Erebus is a dark region in Hades in Greek mythology. Present with Ross on the Erebus was the young Joseph Hooker, future president of the Royal Society and close friend of Charles Darwin. Erebus was an Ancient Greek primordial deity of darkness, the son of Chaos.
The mountain was surveyed in December 1912 by a science party from Scott’s Terra Nova Expedition who also collected geological samples. Two of the camp sites they used have been recognised for their historic significance:
- Upper “Summit Camp” site (HSM 89) consists of part of a circle of rocks, which were probably used to weight the tent valances.
- Lower “Camp E” site (HSM 90) consists of a slightly elevated area of gravel as well as some aligned rocks, which may have been used to weight the tent valances.
They have been designated Historic Sites or Monuments following a proposal by the United Kingdom, New Zealand and the United States to the Antarctic Treaty Consultative Meeting.
- More About Mont Erebus

The artist 

Sir Joseph Dalton Hooker OM GCSI CB PRS was one of the greatest British botanists and explorers of the 19th century. He was a founder of geographical botany and Charles Darwin's closest friend. For twenty years he served as director of the Royal Botanical Gardens, Kew, succeeding his father, William Jackson Hooker, and was awarded the highest honours of British science. He reminded famous for his Voyages to Antarctic (1839-1843), Himalayas and India (1847-1851), Palestine (1860), Morocco (1871), and Western United Statesof America (1877).  He is the first European to have sketched Mount Everest and Himalayas as well as Mount Erebus and Mont Terror in Antarctic, the two volcanoes discovered on the voyage and named after the expedition ships HMW Erebus and HMS Terror. Joseph Hooker's first major botanical expedition was on HMS Erebus as part of Captain James Clark Ross' Antarctica expedition (1839-1843).
- More about Joseph Dalton Hooker

ETNA SKETCHED BY EUGENE VIOLLET-LE-DUC

EUGENE VIOLLET-LE-DUC (1814-1879)

Mount Etna or Mongibello (3,329 m - 10,922ft) 

 Italy (Sicily) 

In Le cratère de l'Etna en Sicile, 1836, watercolor, Musée Lambinet Versailles, France  

The mountain 
Mount Etna (3,329 m - 10,922ft) or Mongibello, Mungibeddu in Sicilian, Aetna in Latin is an active stratovolcano on the east coast of Sicily, in the Province of Catania, between Messina and Catania. It lies above the convergent plate margin between the African Plate and the Eurasian Plate. It is the tallest active volcano in Europe. It is the highest mountain in Italy south of the Alps. Etna covers an area of 1,190 km2 (459 sq mi) with a basal circumference of 140 km. This makes it by far the largest of the three active volcanoes in Italy, being about two and a half times the height of the next largest, Mount Vesuvius. Only Mount Teide in Tenerife surpasses it in the whole of the European–North-African region. In Greek Mythology, the deadly monster Typhon was trapped under this mountain by Zeus, the god of the sky and thunder and king of gods, and the forges of Hephaestus were said to also be located underneath it.
Mount Etna is one of the most active volcanoes in the world and is in an almost constant state of activity. The fertile volcanic soils support extensive agriculture, with vineyards and orchards spread across the lower slopes of the mountain and the broad Plain of Catania to the south.
Due to its history of recent activity and nearby population, Mount Etna has been designated a Decade Volcano by the United Nations. In June 2013, it was added to the list of UNESCO World Heritage Sites.
- More informations about Mount Etna

The artist 
Eugène Emmanuel Viollet-le-Duc (not to be confused with the writer Violette Leduc) was a French architect and theorist, famous for his interpretive "restorations" of medieval buildings.  But he was, as well, an excellent but less famous watercolorist, sketching quite a number of mountains and volcanoes all over Europe.
Born in Paris, he was a major Gothic Revival architect. His works were largely restorative and few of his independent building designs were ever realised. Strongly contrary to the prevailing Beaux-Arts architectural trend of his time, much of his design work was largely derided by his contemporaries. He was the architect hired to design the internal structure of the Statue of Liberty, but died before the project was completed.
During the early 1830s, a popular sentiment for the restoration of medieval buildings developed in France. Viollet-le-Duc, returning during 1835 from study in Italy, was commissioned by Prosper Mérimée to restore the Romanesque abbey of Vézelay. This work was the first of a long series of restorations; Viollet-le-Duc's restorations at Notre Dame de Paris with Jean-Baptiste Lassus brought him national attention. His other main works include Mont Saint-Michel, Carcassonne, Roquetaillade castle and Pierrefonds.
Viollet-le-Duc's "restorations" frequently combined historical fact with creative modification. For example, under his supervision, Notre Dame was not only cleaned and restored but also "updated", gaining its distinctive third tower (a type of flèche) in addition to other smaller changes. Another of his most famous restorations, the medieval fortified town of Carcassonne, was similarly enhanced, gaining atop each of its many wall towers a set of pointed roofs that are actually more typical of northern France. Many of these reconstructions were controversial. Viollet-le-duc wanted what he called ‘a condition of completeness' which never actually existed at any given time. This approach to restoration was particularly problematic when buildings survived in a mixture of styles. For instance, Viollet-le-Duc eliminated eighteenth-century additions to Notre Dame. Both his theory and his practice were strongly criticized on the grounds that only what had once been in place should be reconstructed. At the same time, in the cultural atmosphere of the Second Empire theory necessarily became diluted in practice: Viollet-le-Duc provided a Gothic reliquary for the relic of the Crown of Thorns at Notre-Dame in 1862, and yet Napoleon III also commissioned designs for a luxuriously appointed railway carriage from Viollet-le-Duc, in 14th-century Gothic style.
Among his restorations were:
- Churches :
Notre-Dame in Paris, Abbey of the Mont Saint-Michel, Basilica of St. Mary Magdalene in Vézelay, St. Martin in Clamecy,  Sainte-Chapelle in Paris, Basilica of St. Denis near Paris, St. Louis in Poissy, Notre-Dame in Semur-en-Auxois, Basilica of St. Nazarius and St. Celsus in Carcasonne, Basilica of St. Sernin in Toulouse, Notre-Dame in Lausanne (Switzerland).
Town halls:
- Saint-Antonin-Noble-Val, Narbonne
Castles:
- Château de Roquetaillade in Bordeaux, Château de Pierrefonds, Fortified city of Carcassonne, Château de Coucy, Antoing in Belgium, Château de Vincennes in  Paris.
When monuments was to much damaged, he sometimes  obtain from the emperor Napoleon III the permission to entirely rebuilt it,  like he did in Avignon with the Popes ramparts all around the city.
Sources: 
- Encyclopedia Britannica 

BARRON CANYON (PETAWAWA) PAINTED BY TOM THOMSON

TOM THOMSON (1877-1917) 

Barron Canyon (139m - 456ft)

Canada (Ontario) 

1. In Petawawa, fall 1916, oil on panel Private collection 

2. In Sketch for Petawawa Gorges (Early Spring), Spring 1914, oil on panel Private collection 

3. In Petawawa Gorges, fall 1916 , oil on panel Private collection 

 Note : 

Several of Thomson's sketches of  1914 - 1916 entitled   "Gorges of the Petawawa" were painted in what is now known as the Barron Canyon on the Barron River. 

The Canyon 

Barron Canyon (100 m- 328 ft) is a deep canyon formed approximately 10,000 years ago, the river was a main outlet for glacial meltwater in this region. It is believed to have carried for a short time the outflow from the Lake Agassiz. The rocks exposed in the Canyon are part of the Canadian Shield. The canyon itself still shows activity in the form of rockfalls and landslides.
The Barron River (in French: Rivière Barron) is a river in the Saint Lawrence River drainage basin in Nipissing District and Renfrew County, Ontario, Canada. It flows from Clemow Lake in northern Algonquin Provincial Park and joins the Petawawa River, whose southern branch it forms, in the municipality of Laurentian Hills, near the municipality of Petawawa.

The painter 
Thomas John "Tom" Thomson was an influential Canadian artist of the early 20th century. He directly influenced a group of Canadian painters that would come to be known as the Group of Seven, and though he died before they formally formed, he is sometimes incorrectly credited as being a member of the group itself.
Thomson was largely self-taught. His first trips to Algonquin Park inspired him to follow the lead of fellow artists in producing oil sketches of natural scenes on small, rectangular panels for easy portability while travelling. Between 1912 and his death in 1917, Thomson produced hundreds of these small sketches, many of which are now considered works in their own right, and are housed in such galleries as the Art Gallery of Ontario in Toronto and the National Gallery of Canada in Ottawa.
Many of Thomson's major paintings, including Northern River, The Jack Pine, and The West Wind, began as sketches before being expanded into large oil paintings at Thomson's "studio"—an old utility shack with a wood-burning stove on the grounds of the Studio Building, an artist's enclave in Rosedale, Toronto. Although Thomson sold few of these paintings during his lifetime, they formed the basis of posthumous exhibitions, including one at Wembley in London, that eventually brought international attention to his work.
Thomson was aided by the patronage of Toronto physician James MacCallum, who enabled Thomson's transition from graphic designer to professional painter.  Although the Group of Seven was not founded until after Thomson's death, his work is sympathetic to that of group members A. Y. Jackson, Frederick Varley, Arthur Lismer.  These artists shared an appreciation for rugged, unkempt natural scenery, and all used broad brush strokes and a liberal application of paint to capture the stark beauty and vibrant colour of the Ontario landscape. Thomson's art bears some stylistic resemblance to the work of European post-impressionists such as Vincent van Gogh and Paul Cézanne, whose work he may have known from books or visits to art galleries.
Described as having an "idiosyncratic palette," Thomson's control of colour was exceptional. He often mixed available pigments to create unusual, new colours making his distinctive palette along with his brushwork instantly recognizable regardless of the subject of his work. For Thomson biographer Harold Town, the brevity of Thomson's career hinted at an artistic evolution never fully realized. He cites the oil painting Unfinished Sketch as "the first completely abstract work in Canadian art" a painting that, whether or not it was intended as a purely non-objective work, presages the innovations of Abstract expressionism.
Thomson died under mysterious circumstances on Canoe Lake in Algonquin Park.
Since his death, Thomson's work has grown in value and popularity. In 2002, the National Gallery of Canada staged a major exhibition of his work, giving Thomson the same level of prominence afforded Picasso, Renoir, and the Group of Seven in previous years. In recent decades, the increased value of Thomson's work has led to the discovery of numerous forgeries of his work on the market.
Source : 
- Tom Thomson Memorial Gallery 

SEEBERG SADDLE BY MARCUS PERNHART

MARCUS PERNHART (1824-1871)

Seeberg Saddle (1,218m- 3, 996ft) 

Austria - Slovenia

The mountain 
Seeberg Saddle   (1,218m- 3, 996ft), Seebergsattel in German, Jezerski in Slovene,  or also just Seeberg, is a high mountain pass connecting Bad Eisenkappel in the Austrian state of Carinthia with Jezersko in the Slovenian region of Carinthia. It is located in the Southern Limestone Alps, between the Karavanke range in the west and the Kamnik–Savinja Alps in the east.
The road across the pass is probably of Roman origin, leading from the Drava valley in the Noricum province towards the city of Aquileia. The border at the summit was implemented after the dissolution of Austria-Hungary by the 1919 Treaty of Saint-Germain. Today the Seeberg Highway (B 82) heads from the Austrian side up to the border crossing on the pass. Directly behind the Slovenian border station is an inn. On the Slovenian side, the state road No. 210 descends from the Seeberg down to Jezersko, offering a panoramic view of the Kamnik Alps.
Seeberg Saddle is also known as the Carinthian Seeberg to distinguish it from the Styrian Seeberg Pass in the Northern Limestone Alps.

The painter 
Marcus (or Markus) Pernhart was a Carinthian  / Slovenian / Austrian painter. He is considered the first Slovene realistic landscape painter. He painted several times Triglav.
At  barely 12 years, he painted the guest rooms of Krajcar Restaurant between Klagenfurt and Völkermarkt. The innkeeper made, the bishop's chaplain Henr. Hermann discovered the talented boys. At 15, he trained in painting first with Andreas Hauser in Klagenfurt. Hermann supported him further and introduced him to his patron, the Gorizia Archbishop Francis Xavier Luzhin.  Through this he got contact with the Viennese art scene, particularly to Franz Steinfeld, who taught at the Academy of Fine Arts. It was forwarded to the Munich Academy, but soon returned to Carinthia. There he was promoted by his stage name Pernhart the famous landscape painter of his time.
- More about Marcus Pernhart

OL DONYO SABUK BY AKSELI GALLEN-KALLELA

 AKSELI GALLEN-KALLELA (1865-1931)

Ol Donyo Sabuk or Kilimambogo (2, 145m- 7, 037ft) 

Kenya

 In Mount Donia Sabuk, 1909, oil on canvas,  Finish National  Gallery.

The mountain 
Ol Donyo Sabuk (2, 145m- 7, 037ft) also called  Kilimambogo in Kikuyu) is a mountain and an adjacent small town near Thika central Kenya. The peak was named by Maasai pastoralists, meaning big mountain. The Kikuyu name, Kilimambogo, means Buffalo Hill or Mountain.  The town is located in Kyanzavi Division, at the border between Machakos County and Kiambu County.
Lord William Northrop Macmillan (1872-1925) was the first white man to settle here, and everything else that has happened since is largely attributed to him. The town is quite dusty, due to deforestation and loose ground cover, compounded by occasional rainfall. However, the area is adorned with lots of untamed beauty.  Near the peak is the grave of Lord Macmillan,  his wife and their dog. Also, there is an extra grave of one Louise, who started working for the Macmillan's when she was age 13 until her death. It was, once, one of the biggest ranches in Kenya, with nothing less than five towns inside the former Juja Ranch. The rural area is a multi-ethnic community in farms owned by people who were former squatters and his farm labourers. The mountain peak is inside a game park, and the rest is partially owned nowadays by the Kenyatta family.
The name of this park established in 1967, Ol Donyo Sabuk, means large mountain in Maasai and Kamba language. It is situated 65 km (40 mi) north of Nairobi and has an excellent and clear view of Nairobi and other lowland areas. Wildlife species that can be spotted here include buffalo, colobus monkeys, baboons, bushbuck, impala, duiker, and abundant birdlife.
Ol Donyo Sabuk National Park is a common one-day trip out of Nairobi, only 65 km (40 mi) away. The mountain is the highest peak in the park, covering 20.7 km2 (8.0 sq mi).  One approach to the park is via the Fourteen Falls on the Athi River. The park's attraction is its beauty and views of both Mt. Kenya and Mt. Kilimanjaro. It teems with game including baboon, colobus, bushbuck, impala, duiker and many birds. Today, some 250 buffalos roam the slopes. Kikuyu traditionalists also call the mountain by Kea-Njahe, known as the 'Mountain of the Big Rain', one of Ngai's lesser homes.


The painter 
Akseli Gallen-Kallela was a Swedish-speaking Finnish painter who is best known for his illustrations of the Kalevala, the Finnish national epic. His work was considered very important for the Finnish national identity. He changed his name from Gallen to Gallen-Kallela in 1907. In 1884 he moved to Paris, to study at the Académie Julian and became friends with the Finnish painter Albert Edelfelt, the Norwegian painter Adam Dörnberger, and the Swedish writer August Strindberg.
In December 1894, Gallen-Kallela moved to Berlin to oversee the joint exhibition of his works with the works of Norwegian painter Edvard Munch. Here he became acquainted with the Symbolists.
On his return from Germany, Gallen studied print-making and visited London to deepen his knowledge, and in 1898 studied fresco-painting in Italy.
For the Paris World Fair in 1900, Gallen-Kallela painted frescoes for the Finnish Pavilion. In these frescoes, his political ideas became most apparent. Gallen-Kallela officially finnicized his name to the more Finnish-sounding Akseli Gallen-Kallela in 1907.
In 1909, Gallen-Kallela moved to Nairobi in Kenya with his family, and there he painted over 150 expressionist oil paintings and bought many east African artefacts (watercolor above). But he returned to Finland after a couple of years, realizing Finland was his main inspiration. Between 1911 and 1913 he designed and built a studio and house at Tarvaspää, about 10 km northwest of the centre of Helsinki.
From December 1923 to May 1926, Gallen-Kallela lived in the United States, where an exhibition of his work toured several cities, and where he visited the Taos art-colony in New Mexico to study indigenous American art. In 1925 he began the illustrations for his "Great Kalevala". This was still unfinished when he died of pneumonia in Stockholm on 7 March 1931, while returning from a lecture in Copenhagen, Denmark His studio and house at Tarvaspää was opened as the Gallen-Kallela Museum in 1961.

THE MONT-BLANC BY JEAN DUBOIS

JEAN DUBOIS (1789-1849) 

The Mont Blanc (4,808.73 m -15,777 ft) 

 France - Italy 

1. In Le Mont-Blanc vu de Chamouni, aquatinte et aquarelle sur fond gravé, 1802, Private collection
2.   In Panorama du Mont Blanc, aquatinte et aquarelle sur fond gravé, 1805, Private collection  

The mountain 

The Mont-Blanc (in French)  (4 ,808.73 m -15,777 ft) or Monte Bianco (in Italian), both meaning "White Mountain", is the highest mountain in the Alps and the highest in Europe after the Caucasus peaks. It is ranked 11th in the world in topographic prominence.  The Mont Blanc is one of the Seven Summit, which includes the highest mountains of each of the seven continents. Summiting all of them is regarded as a mountaineering challenge, first achieved on April 30, 1985 by Richard Bass.  The 7 highest summit, (which are obviously 8 with 2 in Europe !) are :  

Mount Everest (8,848m), Aconcagua (6,961m), Mt Denali or Mc Kinley (6,194m),  Kilimandjaro (5,895m), Mt Elbrus (5,642m), Mount Vinson (4,892m) and Mount Kosciuszko  (2,228m) in Australia.

The mountain lies in a range called the Graian Alps, between the regions of Aosta Valley, Italy, and Savoie and Haute-Savoie, France. The location of the summit is on the watershed line between the valleys of Ferret and Veny in Italy and the valleys of Montjoie, and Arve in France. The Mont Blanc massif is popular for mountaineering, hiking, skiing, and snowboarding.

The three towns and their communes which surround Mont Blanc are Courmayeur in Aosta Valley, Italy, and Saint-Gervais-les-Bains and Chamonix in Haute-Savoie, France.  A cable car ascends and crosses the mountain range from Courmayeur to Chamonix, through the Col du Géant. Constructed beginning in 1957 and completed in 1965, the 11.6 km (7¼ mi) Mont Blanc Tunnel runs beneath the mountain between these two countries and is one of the major trans-Alpine transport routes.

Since the French Revolution, the issue of the ownership of the summit has been debated. 

From 1416 to 1792, the entire mountain was within the Duchy of Savoy. In 1723 the Duke of Savoy, Victor Amadeus II, acquired the Kingdom of Sardinia. The resulting state of Sardinia was to become preeminent in the Italian unification.[ In September 1792, the French revolutionary Army of the Alps under Anne-Pierre de Montesquiou-Fézensac seized Savoy without much resistance and created a department of the Mont-Blanc. In a treaty of 15 May 1796, Victor Amadeus III of Sardinia was forced to cede Savoy and Nice to France. In article 4 of this treaty it says: "The border between the Sardinian kingdom and the departments of the French Republic will be established on a line determined by the most advanced points on the Piedmont side, of the summits, peaks of mountains and other locations subsequently mentioned, as well as the intermediary peaks, knowing: starting from the point where the borders of Faucigny, the Duchy of Aoust and the Valais, to the extremity of the glaciers or Monts-Maudits: first the peaks or plateaus of the Alps, to the rising edge of the Col-Mayor". This act further states that the border should be visible from the town of Chamonix and Courmayeur. However, neither the peak of the Mont Blanc is visible from Courmayeur nor the peak of the Mont Blanc de Courmayeur is visible from Chamonix because part of the mountains lower down obscure them. A Sardinian Atlas map of 1869 showing the summit lying two thirds in Italy and one third in France.

After the Napoleonic Wars, the Congress of Vienna restored the King of Sardinia in Savoy, Nice and Piedmont, his traditional territories, overruling the 1796 Treaty of Paris. Forty-five years later, after the Second Italian War of Independence, it was replaced by a new legal act. This act was signed in Turin on 24 March 1860 by Napoleon III and Victor Emmanuel II of Savoy, and deals with the annexation of Savoy (following the French neutrality for the plebiscites held in Tuscany and Emilia-Romagna to join the Kingdom of Sardinia, against the Pope's will). A demarcation agreement, signed on 7 March 1861, defines the new border. With the formation of Italy, for the first time Mont Blanc is located on the border of France and Italy.

The 1860 act and attached maps are still legally valid for both the French and Italian governments. One of the prints from the 1823 Sarde Atlas  positions the border exactly on the summit edge of the mountain (and measures it to be 4,804 m (15,761 ft) high). The convention of 7 March 1861 recognises this through an attached map, taking into consideration the limits of the massif, and drawing the border on the icecap of Mont Blanc, making it both French and Italian.Watershed analysis of modern topographic mapping not only places the main summit on the border, but also suggests that the border should follow a line northwards from the main summit towards Mont Maudit, leaving the southeast ridge to Mont Blanc de Courmayeur wholly within Italy.

Although the Franco-Italian border was redefined in both 1947 and 1963, the commission made up of both Italians and French ignored the Mont Blanc issue. In the early 21st century, administration of the mountain is shared between the Italian town of Courmayeur and the French town of Saint-Gervais-les-Bains, although the larger part of the mountain lies within the commune of the latter.

- More about the Mont-Blanc 

The painter 

Jean Dubois (1789-1849) is a french artist-painter, draftsman and lithographer not  to be confused with Jean Dubois Le Vieux (1604-1676). He painted many landscapes of the valley of the Arve and Chamonix (called Chamouni in his time). He is considered as one of the best painter of Mont-Blanc, always painted with a very realistic touch.  In his paintings of the Mont-Blanc, the Glacier des Bossons (at the bottom) seems gigantic, for the simple reason the painting was made at the beginning of the nineteenth century,  a period considered as "the small glacial age" which nevertheless lasted almost three centuries. During this period, the glaciers spread to the bottom of the valleys. In the foreground the village of Chamonix and the Arve. Painters began to take an interest in the Mont Blanc and its surroundings at the end of the 18th century with the arrival of the first "tourists". Goethe and the Prince of Saxe-Anhalt were among the first travelers of note. The latter, to be freer, traveled anonymously, which enabled the Prince and his councilor to move on foot from Geneva to the Valais where they found German-speaking villages. At the end of the 19th century the french Baroness of Rothschild felt in love with the Mont Blanc and the little village of Megève and decided to buy enormous landmark there, just to have to possibility to practice a new sport up to date at that time called "ski".  

KILIMANDJARO BY TOSHI YOSHIDA

TOSHI YOSHIDA (1911-1995) 

Kilimandjaro (5,885m - 19, 340ft)

Tanzania 

1.  In Kilimandjaro morning,1977, woodblock print, private collection

2.  In Kilimandjaro, Cloudy Day, 1983 woodblock print, private collection

3. In Kilimandjaro evening, 1983, woodblock print, private collection

The mountain 

Mount Kilimanjaro (5,885m - 19, 340ft) is a dormant volcano in Tanzania composed of three volcanic cones, "Kibo", "Mawenzi", and "Shira.  The Kilimandjaro is the highest mountain in Africa. The first recorded ascent to the summit  was by Hans Meyer and Ludwig Purtscheller in 1889.
The mountain is part of the Kilimanjaro National Park and is a major climbing destination. The mountain has been the subject of many scientific studies because of its shrinking glaciers, especially since 200.
The origin of the name "Kilimanjaro" is not precisely known, but a number of theories exist. European explorers had adopted the name by 1860 and reported that "Kilimanjaro" was the mountain's Kiswahili name. The 1907 edition of The Nuttall Encyclopædia also records the name of the mountain as "Kilima-Njaro", as well as the title of the watercolor above. Johann Ludwig Krapf wrote in 1860 that Swahilis along the coast called the mountain Kilimanjaro. Although he did not support his claim, he claimed that "Kilimanjaro" meant either "mountain of greatness" or "mountain of caravans". Under the latter meaning, "Kilima" meant "mountain" and "Jaro" possibly meant "caravans". Jim Thompson claimed in 1885, although he also did not support his claim, that the term Kilima-Njaro "has generally been understood to mean" the Mountain (Kilima) of Greatness (Njaro). Though not improbably it may mean the "White" mountain. "Njaro" is an ancient Kiswahili word for "shining". Others have assumed that "Kilima" is Kiswahili for "mountain".
In the 1880s, the mountain became a part of German East Africa and was called "Kilima-Ndscharo" in German following the Kiswahili name components.
On 6 October 1889, Hans Meyer reached the highest summit on the crater ridge of Kibo. He named it "Kaiser-Wilhelm-Spitze" ("Kaiser Wilhelm peak").
That name apparently was used until Tanzania was formed in 1964, when the summit was renamed "Uhuru", meaning "Freedom Peak" in Kiswahili.
- More informations about Kilimandjaro 

The artist 
Tōshi Yoshida (吉田 遠志), was a Japanese printmaking artist associated with the sōsaku-hanga movement, and son of famous shin-hanga artist Hiroshi Yoshida. One of Yoshida's legs was paralysed during his early childhood. Not being able to attend school, he enjoyed watching animals and his father's printmaking workshop. Encouraged by his grandmother Rui Yoshida, Tōshi often sketched animals. Yoshida's artistic career was a long struggle between fidelity to his father's legacy and freedom from it. Hiroshi Yoshida, a shin-hanga landscape artist, dictated Tōshi's early artistic development. In 1926, Tōshi chose animals as his primary subjects to distinguish himself from his father, who was a landscape printmaker. However, in the 1930s, Tōshi started making landscape paintings and prints similar to his father's works. Father and son traveled together and even painted side by side. From 1930 to 1931, Hiroshi and Tōshi traveled to India, Shanghai, Hong Kong, Malaysia, Singapore, Calcutta, and Burma.
The death of his father in 1950 marked Tōshi's total break from his past and from naturalism. In 1952, Yoshida began a series of abstract woodcuts, influenced by his brother, Hodaka Yoshida. In 1953, Tōshi traveled to the United States, Mexico, London, and the Near East. He made presentations in thirty museums and galleries in eighteen states. From 1954 to 1973, Yoshida made three hundred nonobjective prints. In 1971, Yoshida returned to his innate affinity for animals and focused on birds and animals again. His Humming Bird and Fuchsia in 1971 was a prelude to the African works that he began the following year. From 1971 to 1994, until the last years of his life, Tōshi worked almost exclusively on animal prints. Tōshi was also a children's book illustrator. He wrote his own short stories and made illustrations in the Animal Picture Book series.
Sources: 
- Artelino 
 -Wikipedia 

BLACKHEAD, MONHEGAN PAINTED BY EDWARD HOPPER

EDWARD HOPPER (1882-1967)

Blackhead (50 m-150 ft) 

United States of America (Maine)

1. In Blackhead, Monhegan, 1916-19,oil on wood, Whitney Museum of American Art, 

The mountain 

Blackhead (50m-150 ft) are northside cliffs situated on Monhegan, Manana Island, that have drawn the interest of  many artists.  The beginnings of the art colony on Monhegan date to the mid-19th century; by 1890, it was firmly established. Two of the early artists in residence from the 1890s, William Henry Singer (1868–1943) and Martin Borgord (1869–1935), left Monhegan to study at the Académie Julian in Paris in 1901. Among many early members who found inspiration on the island were summer visitors from the New York School of Art and the Pennsylvania Academy of the Fine Arts, such as Robert Henri, Frederick Waugh, George Bellows, Edward Hopper and Rockwell Kent. The Monhegan Museum celebrated more the continuing draw of the island for artists in a 2014 exhibit entitled, “The Famous and the Forgotten: Revisiting Monhegan’s Celebrated 1914 Art Exhibition.

Monhegan is a plantation in Lincoln County, Maine, United States, about 12 nautical miles (22 km) off the mainland. The population was 75 at the 2000 census. The plantation comprises its namesake island and the uninhabited neighboring island of Manana. The island is accessible by scheduled boat service from Boothbay Harbor, New Harbor and Port Clyde. It was designated a National Natural Landmark for its coastal and island flora in 1966.[

The name Monhegan derives from Monchiggon, Algonquian for "out-to-sea island." European explorers Martin Pring visited in 1603, Samuel de Champlain in 1604, George Weymouth in 1605 and Captain John Smith in 1614. The island got its start as a British fishing camp prior to settlement of the Plymouth Colony. Cod was harvested from the rich fishing grounds of the Gulf of Maine, then dried on fish flakes before shipment to Europe. A trading post was built to conduct business with the Indians, particularly in the lucrative fur trade.  It was Monhegan traders who taught English to Samoset, the sagamore who in 1621 startled the Pilgrims by boldly walking into their new village at Plymouth and saying: "Welcome, Englishmen." 

The painter
Edward Hopper was a American realist painter and printmaker.

Conservative in politics and social matters (Hopper asserted for example that "artists' lives should be written by people very close to them"), he accepted things as they were and displayed a lack of idealism. Cultured and sophisticated, he was well-read, and many of his paintings show figures reading. He was generally good company and unperturbed by silences, though sometimes taciturn, grumpy, or detached. He was always serious about his art and the art of others, and when asked would return frank opinions.

Hopper's most systematic declaration of his philosophy as an artist was given in a handwritten note, entitled "Statement", submitted in 1953 to the journal, Reality:

"Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception.

The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design.

The term life used in art is something not to be held in contempt, for it implies all of existence and the province of art is to react to it and not to shun it.

Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great."
- More about Edward Hopper

MOUNT EREBUS BY JOHN CARMICHAEL

JOHN CARMICHAEL (1800-1868)

Mount Erebus  (3, 794 m - 12, 448ft)

Antarctica (Ross Island)

 In  HMS Erebus and HMS Terror in the Antarctic,1847, oil on canvas,  

National Maritime Museum Greenwich, London.

The mountain 

Mount Erebus (3, 794 m - 12, 448ft), not to be confused with Mount Elbrus is the second-highest volcano in Antarctica (after Mount Sidley) and the southernmost active volcano on Earth. It is the sixth highest ultra mountain on an island, located on Ross Island, which is also home to three inactive volcanoes:  Mount Terror, Mount Bird, and Mount Terra Nova.
The volcano has been active since c. 1.3 million years ago and is the site of the Mount Erebus Volcano Observatory run by the New Mexico Institute of Mining and Technology.
Mount Erebus was discovered on January 27, 1841 (and observed to be in eruption) by polar explorer Sir James Clark Ross who named it and its companion, Mount Terror, after his ships, Erebus and Terror (which were later used by Sir John Franklin on his disastrous Arctic expedition). Erebus is a dark region in Hades in Greek mythology. Present with Ross on the Erebus was the young Joseph Hooker, future president of the Royal Society and close friend of Charles Darwin. Erebus was an Ancient Greek primordial deity of darkness, the son of Chaos.
The mountain was surveyed in December 1912 by a science party from Scott’s Terra Nova Expedition who also collected geological samples. Two of the camp sites they used have been recognised for their historic significance:
- Upper “Summit Camp” site (HSM 89) consists of part of a circle of rocks, which were probably used to weight the tent valances.
- Lower “Camp E” site (HSM 90) consists of a slightly elevated area of gravel as well as some aligned rocks, which may have been used to weight the tent valances.
They have been designated Historic Sites or Monuments following a proposal by the United Kingdom, New Zealand and the United States to the Antarctic Treaty Consultative Meeting.
Mount Erebus is classified as a polygenetic stratovolcano. ..

 - More about Mount Erebus 

The Painter 

James Wilson Carmichael also known as John Carmichael was an English marine painter.
Son of William Carmichael, a ship's carpenter, John went to sea at an early age, and spent three years on board a vessel sailing between ports in Spain and Portugal. On his return, he was apprenticed to a shipbuilding firm.  After completing his apprenticeship, he devoted all his spare time to art, and eventually gave up the carpentry business, setting himself up as a drawing-master and miniature painter. His first historical painting to attract public notice was the Fight Between the Shannon and Chesapeake, which sold for 13 guineas. He then painted The Bombardment of Algiers for Trinity House, Newcastle, for which he received 40 guineas;  it is still at Trinity House, along with The Heroic Exploits of Admiral Lord Collingwood in HMS "Excellent" at the Battle of Cape St. Vincent, painted in collaboration with George Balmer. Another important early commission was for a View of Newcastle for which the city corporation paid him 100 guineas.
His name first appears as an exhibitor in 1838, when he contributed an oil painting, Shipping in the Bay of Naples, to the Society of British Artists. He showed both oil paintings and watercolours at the Royal Academy, his contributions including The Conqueror towing the Africa off the Shoals of Trafalgar (1841) and The Arrival of the Royal Squadron (1843).
He lived in Newcastle until about 1845, when he moved to London, where he was already known as a skilful marine painter.
Obviously, Carmichael was never sent  to Antartica to painted his HMS Erebus and HMS Terror in the Antarctic (above) and the shape of Mount Erebus is approximative enough to confirm he painted it in his atelier in London. 
In 1855, during the Crimean War he was sent to the Baltic to make drawings for The Illustrated London News. His painting of The bombardment of Sveaborg, which he witnessed during this assignment, was exhibited at the Royal Academy and is now in the collection of the National Maritime Museum.
He later moved to Scarborough, where he died in 1868.
He published The Art of Marine Painting in Water-Colours in 1859, and The Art of Marine Painting in Oil-Colours in 1864.

LA MEIJE BY AUGUSTE RODIN

-

AUGUSTE RODIN (1840-1917)  

La Meije (3,984m- 13, 071ft)

France (Isère)

In Le Glacier, crayon au graphite, estompe, watercolor, n° 4225, Musée Rodin, Paris 

(La Meije view from the Col du Lautaret) 

The mountain 

La Meije (3,984m- 13, 071ft) is a mountain in the Massif des Écrins range, located at the border of the Hautes-Alpes and Isère départements. It overlooks the nearby village of La Grave, a mountaineering centre and ski resort, well known for its off-piste and extreme skiing possibilities, and also dominates the view west of the Col du Lautaret. It is the second highest mountain of the Écrins after Barre des Écrins. The central and second highest summit has five teeth, the highest of which is known as Le Doigt de Dieu (The Finger of God). This summit was reached from the northeast on June 28, 1870, by Christian and Ulrich Almer and Christian Gertsch, guiding Meta Brevoort and W.A.B. Coolidge. The ridge from the central to the main, Western peak, which is 13 meters higher, was considered an insurmountable obstacle for the next 15 years.
The Western true summit of La Meije, the Grand Pic, is notorious in that there is no "easy" path to its top and it was the last major peak in the Alps to be summited. The first ascent was eventually made from the southwest on 16 August 1877 by father and son Pierre Gaspard and their client Emmanuel Boileau de Castelnau. Their approach, over the south buttress Arête du Promontoire and further over the Glacier Carré and the southwest face of the Grand Pic is now the normal route.
On July 26, 1885, Ludwig Purtscheller and the brothers Otto and Emil Zsigmondy made the first traverse from the central to the main summit, via the "insurmountable" gap that is now known as the Brèche Zsigmondy, in what is still considered a classic route though thoroughly modified by a may 1964 rockfall. The traverse in the opposite direction was accomplished 6 years later by Ulrich Almer, Fritz Boss and J.H. Gibson.
The south face is widely considered to be the most difficult of La Meije. Within two weeks after their successful traverse, the Zsigmondy brothers, together with Karl Schulz, tried to reach the Brèche Zsigmondy over the south face, but Emil died in the attempt. The first successful attempt was not until twenty-seven years later, in 1912 by Angelo Dibona, Luigi Rizzi, and the brothers Guido and Max Mayer, while a direct route over the south face to the Grand Pic was only climbed in 1935 and that to the Central Pic in 1951.
For mountaineering, La Meije can be approached from two mountain refuges:
- The refuge du Promontoire at 3,082 metres, situated at the bottom of the steep south buttress of the peak, and allows access to routes on the south face of the mountain.
- The refuge de l'Aigle at 3,450 metres, situated at the top of the Tabuchet glacier, and allows access to the north face.

The artist

François Auguste René Rodin known as Auguste Rodin was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past. He was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Paris's foremost school of art.

When Rodin does not sculpt, he draws. Auguste Rodin has created some 10,000 drawings among which more than 7,000 are preserved in the Rodin Museum. It is very rare that the drawing serves as a study, a project for a sculpture or a monument. The work of the draftsman is developed in parallel with that of the sculptor. If, for reasons of conservation, the works on paper can only be shown very punctually, they are not a minor part of the art of Rodin, who affirms at the end of his life in his notebooks : « My drawings are the key to my work, my sculpture is only drawing in all dimensions ».  Beyond the simple preparatory work, drawing is for Rodin another practice, another field of artistic reflection that he discovers even before sculpture, at the age of ten.  Inventor of the first draft, Rodin takes the habit of letting the model evolve in front of him without indicating artificial pose, so as to capture on the sheet the natural movement.

Rodin also practiced the engraving which allowed him to diffuse his drawings and his sculptures. These engravings are gathered in an album.  He produced about 1,000 engravings. Auguste-Hilaire Léveillé is one of the engravers who reproduced a number of his statues.

Rodin practiced  also photography and used it abundantly. He had a team of photographers, such as Gaudanzio Marconi, Karl Bodmer, Victor Pannelier and Freuler who photograph the models, sculptures finalized or in the course of work. These photographs serve as blanks, but also for corrections, Rodin underlining or retouching some part with pencil, pen, brush or wash, on the photographic prints of his sculptures. They serve to dialogue with the practitioners as can be read in the correspondence with Bourdelle or to correct the drawings.

2017 - A Still Life Collection 
Un blog de Francis Rousseau

MOUNT EVEREST FIRST SKETCHED BY SIR JOSEPH DALTON HOOKER

SIR JOSEPH DALTON HOOKER (1817-1911)

Mount Everest or Sagarmatha or Chomolunga (8,848 m - 29,029ft) 

  Nepal - China border  

 1. In Himalayan sketches, 1850 , Watercolor  by Walter Hood Fitch based on Joseph Dalton Hooker  first observation of Mount Everest.  Courtesy Royal Botanic Gardens Kew 

2.  In The Himalayas from Choonjerma pass, 1848, First known sketch of Mount Everest- 

 Courtesy Royal Botanic Gardens Kew 

The mountain 

Mount Everest (8,848 m - 29,029ft), also known in Nepal as Sagarmāthā and in Tibet as Chomolungma, is Earth's highest mountain. It is located in the Mahalangur mountain range in Nepal and Tibet. The international border between China (Tibet Autonomous Region) and Nepal runs across Everest's precise summit point. Its massif includes neighbouring peaks Lhotse (8,516 m -27,940 ft); Nuptse (7,855 m -25,771 ft) and Changtse (7,580 m -24,870 ft).
In 1856, the Great Trigonometrical Survey of India established the first published height of Everest, then known as Peak XV, at (8,840 m -29,002 ft). The current official height of (8,848 m -29,029 ft) as recognised by China and Nepal was established by a 1955 Indian survey and subsequently confirmed by a Chinese survey in 1975. In 1865, Everest was given its official English name by the Royal Geographical Society upon a recommendation by Andrew Waugh, the British Surveyor General of India. As there appeared to be several different local names, Waugh chose to name the mountain after his predecessor in the post, Sir George Everest, despite George Everest's objections.

The artist 

Sir Joseph Dalton Hooker OM GCSI CB PRS was one of the greatest British botanists and explorers of the 19th century. He was a founder of geographical botany and Charles Darwin's closest friend. For twenty years he served as director of the Royal Botanical Gardens, Kew, succeeding his father, William Jackson Hooker, and was awarded the highest honours of British science. He reminded famous for his Voyages to Antarctic (1839-1843), Himalayas and India (1847-1851), Palestine (1860), Morocco (1871), and Western United Statesof America (1877).  He is the first European to have sketched Mount Everest and Himalayas (see above) as well as Mount Erebus and Mont Terror in Antarctic.
Voyage to the Himalayas and India 1847–1851
On 11 November 1847 Hooker left England for his three-year-long Himalayan expedition; he would be the first European to collect plants in the Himalaya.  He arrived in Calcutta on 12 January 1848, leaving on 28th to begin his travels with a geological survey party under 'Mr Williams', who he left on 3 March to continue travelling by elephant to Mirzapur, up the Ganges by boat to Siliguri and overland by pony to Darjeeling, arriving on 16 April 1848.
Hooker and a sizeable party of local assistants departed for eastern Nepal on 27 October 1848. They travelled to Zongri, west over the spurs of Kangchenjunga, and north west along Nepal's passes into Tibet. In April 1849 he planned a longer expedition into Sikkim. Leaving on 3 May, he travelled north west up the Lachen Valley to the Kongra Lama Pass and then to the Lachoong Pass. Campbell and Hooker were imprisoned by the Dewan of Sikkim as they travelled towards the Cho La in Tibet. A British team was sent to negotiate with the king of Sikkim. However, they were released without any bloodshed and Hooker returned to Darjeeling, where he spent January and February 1850 writing his journals, replacing specimens lost during his detention and planning a journey for his last year in India.
In an article of the Alpine Journal, it was demonstrated by Stephen Goodwin how the sketch above is the very first known drawing in situ of Mount Everest.  "Is this 1848 sketch by Joseph Dalton Hooker the first recorded view of Mount Everest by a European? Drawn in situ on the ‘Choonjerma pass’ – now generally referred to as the Mirgin la – in eastern Nepal, it has, for many years, lain unidentified in the archives at the Royal Botanic Gardens, Kew. Its ‘discovery’ adds one more facet to the remarkable accomplishments of Hooker during his three years of exploration and research in the eastern Himalaya."

LE MÔLE PAINTED BY KONRAD WITZ

KONRAD WITZ (1400 -1447)

 Le Môle (1,863m - 6,112ft)  (center)

France (Haute-Savoie) 

1. Le Salève and Le Môle (and the Mont blanc massif), occur on  the first European landscape paintings called La Pêche Miraculeuse (The Miraculous Draft of Fishes) 

painted by Konrad Witz in 1444, 

tempera on wood panel, Musée d'Art et d'Histoire de Genève. 

2. Detail of Le Salève (on left), Le Môle (center) and behind the Môle, 

one can see the white silhouette of the Mont Blanc massif 

About the painting 

This painting is most famous for its landscape, the first "topographic landscape" oanted in the History of art. This landscape reproduces exactly the real site as it was, and as it still (more or less) nowadays. Indeed, one can recognize the Lake of Geneva painted from Geneva at its western end ;  Les Voirons on the left ; the Mole, in the center, snowy Mont Blanc (on the back) and Petit Salève. On the hillside, to the far right, the sharp rock indicates a quarry of stones. And in the foreground, on the left, carved blocks of stone outcrop by transparency, they are old quarries under lacustrine. One could not be more precise in the description of a site. This topographical truth is combined with an exceptionally sharp rendering of reliefs and distances; the tiny figures that move in the fields on the other side of the lake are soldiers of the Duke of Savoy in training.

The mountain 

Le Môle (1,863m - 6,112ft) is a mountain of the Chablais Alps in the Haute-Savoie department of France which dominates the area around the town of Bonneville. The communes of Ayze, La Tour, Saint-Jean-de-Tholome, Marignier, Saint-Jeoire-en-Faucigny, Viuz-en-Sallaz, Peillonnex, and Faucigny encircle it.  Though a small mountain by Alpine standards, it is of great geographic importance as it divides the vallée de l'Arve to the south and the west from the vallée du Giffre to the north and southeast, and dominates the southern entrance to the Geneva basin. Mary Shelley, in her Frankenstein, or the Modern Prometheus, quotes Le Môle as being seen by Victor Frankenstein from Geneva, where he was born and lived before being a student in Germany.

The painter 

Konrad Witz was a German-born painter, active mainly in Basel, Switzerland. His 1444 panel, The Miraculous Draft of Fishes (a portion of a lost altarpiece) has been credited as the earliest extant faithful portrayal of a landscape in European art history, being based on observation of real topographical features. Konrad Witz is most famous for painting three altarpieces, all of which survive only partially. The earliest is the Heilspiegel Altarpiece of about 1435 (today mostly in the Kunstmuseum, Basel, with isolated panels in other collections). The next is the Altarpiece of the Virgin (c. 1440), which has been associated with panels now in Basel, Nuremberg, and Strasbourg (Musée de l’Œuvre Notre-Dame). Witz's final altarpiece is the St. Peter Altarpiece of 1444, painted for St. Peter's Cathedral, Geneva, and now in the Musée d'Art et d'Histoire, Geneva, which contains his most famous composition, the Miraculous Draught of Fishes (see above).

 Other independent works by Witz and his followers can be found in Naples, Berlin, and New York (Frick Collection).

2017 - Wandering Vertexes...

by Francis Rousseau 

LICANCABUR PAINTED BY JOSEPH SELLENY

JOSEPH SELLENY (1824-1896)

Licancabur (5,916m - 19, 409ft)

Chile - Bolivia

In The Atacama desert, Chile, with the Licancabur volcano beyond, 

oil on canvas, 1858, Private collection

The Mountain
Licancabur  (5,916m - 19, 409ft) is a stratovolcano on the border between Bolivia and Chile, south of the Sairecabur volcano and west of Juriques. Part of the Andean Central Volcanic Zone, it has a prominent high cone. A 400-metre (1,300 ft) summit crater containing Licancabur Lake, a crater lake which is among the highest lakes in the world, caps the volcano. Three stages of lava flow emanate from the volcano, which formed on Pleistocene ignimbrites.
Licancabur has been active during the Holocene, after the ice ages. Although no historic eruptions of the volcano are known, lava flows extending into Laguna Verde have been dated to 13,240 ± 100 BP. The volcano has primarily erupted andesite, with small amounts of dacite and basaltic andesite.
Its climate is cold, dry and very sunny, with high levels of ultraviolet radiation.
 Licancabur is not covered by glaciers, and vegetation such as cushion plants and shrubs are found lower on its slopes. Chinchillas were formerly hunted on the volcano.
Licancabur is considered a holy mountain by the Atacameno people, related to the Cerro Quimal hill in northern Chile. Archeological sites have been found on its slopes and in the summit crater, which was possibly a prehistoric watchtower. The name "Licancabur" derives from the Kunza words used by the Atacameño people to refer to the volcano: lican ("people", or pueblo) and cábur ("mountain"); thus, "mountain of the people".
Because Licancabur is considered divine, attempts to climb it were discouraged and sometimes met by force; climbing it supposedly brought misfortune.  It is said that Licancabur would punish people who climbed it,  and the volcano is the mate of Quimal in the Cordillera Domeyko; at the solstices, the mountains overshadow one another.  According to local myth, this copulation fertilizes the earth.  Licancabur is considered "male" and a mountain of fire, in contrast to San Pedro (considered a mountain of water). The 1953 Antofagasta earthquake was considered divine retribution for an attempt to climb the mountain that year. According to legend, a golden object (most commonly a guanaco) was offered as tribute in the summit crater; human sacrifices have been reported on the volcano during the Inca pre-Columbian times.
Source:
 - Mercuria Calama

The painter 
Joseph Selleny (also Sellény) is an Austrian landscape painter, draftsman and lithographer and official illustrator. He studied at the Vienna Academy of Fine Arts and  traveled to South Tyrol, Lombardy and Venice. He obtained a scholarship from the Academy in Rome and Naples in 1854-1855. He was introduced to the Archduke Ferdinand Maximilian who appreciates his works and asks him participates, as draftsman, in the expedition of the SMS Novara which circumnavigates the world in 1857-1859, under the command of Captain v. Wüllerstorf-Urbair. In the course of this expedition he produced more than 2000 watercolors, sketches and drawings representing the landscapes and the natives encountered, which on his return were a great success.  He painted watercolor directly on a pattern, then works in his studio. In addition, he made engravings of the expedition in several newspapers of the time. He also photographs many views, at this time of the beginnings of photography which today constitute a real treasure. The publication of the report of the expedition in 21volumes further increases its notoriety, as many of the 224 illustrations of the first edition is inspired by his drawings.
Archduke Ferdinand Maximilian then invited Selleny to accompany him on his journey to North Africa, Cape Verde, the Canary Islands and Brazil. Selleny also designed landscaping projects, such as the Vienna Stadtpark (1862) or the castle of Miramare, owned by the archduke in Trieste.  In 1867, tragically enough, the Archduke  Ferdinand Maximilian was shot by the revolutionaries a few days after being crowned Emperor of Brazil.  Then, Joseph Selleny felt in deep depression and settled in South Tyrol where he painted imposing landscapes.  Suffering more or more of depression, he was taken to a nursing home in Inzersdorf, where he died at the age of fifty-one. A street in the district of Leopoldstadt in Vienna is dedicated to him.

PIZ BERNINA PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT (1830-1902)

Piz Bernina (4, 049m- 13, 283ft) 

Switzerland - Italy border 

In  Piz Bernina, Switzerland, 1880-90, oil on paper mounted on masonite, 

Museum of Fine Arts, Boston 

The mountain 

Piz Bernina or Pizzo Bernina (4, 049m- 13, 283ft)  is the highest mountain in the Eastern Alps, the highest point of the Bernina Range, and the highest peak in the Rhaetian Alps. It is located south of Pontresina and near the major Alpine resort of St. Moritz, in the Engadin valley with the massif partially in Italy.  The mountain can be seen from different viewpoints with the use of ski-lifts from Diavolezza, Piz Corvatsch or Piz Nair. It is also the most easterly mountain higher than 4,000 m (13,000 ft) in the Alps, the highest point of the Swiss canton of Graubünden, and the fifth-most prominent peak in the Alps. The minor summit (4,020 m -13,190 ft) known as La Spedla is the highest point in the Italian Lombardy region. The mountain was named after the Bernina Pass in 1850 by Johann Coaz, who also made the first ascent.  The prefix Piz comes from the Romansch language in Graubünden; any mountain with that name can be readily identified as being located in southeastern Switzerland.

The first ascent was made via the east ridge in 1850 by the 28-year-old topographer Johann Wilhelm Coaz (1822-1918) and his assistants, the brothers Jon and Lorenz Ragut Tscharner. 

In 1866, the south ridge running from La Spedla was climbed by Francis Fox Tuckett and F. A. Y. Brown with guides Christian Almer and F. Andermatten.
The first attempt to climb the northern ridge, the Biancograt, was partially made on 12 August 1876 by Henri Cordier and Thomas Middlemore with guides Johann Jaun and Kaspar Maurer.
On august 1878,  Paul Güssfeldt, accompanied by the guides H. Grass and J. Gross, reached the summit via the Biancograt and accomplished the first complete ascent on this route.
On 15 March 1929, the first winter ascent was made by C. Colmus with guides C. and U. Grass.
Climbing
The normal route starts from the Rifugio Marco e Rosa (3,600 m -11,800 ft) above the Fuorcla Crast'Agüzza, and follows the route taken by the first ascentionists. The north ridge, called the Biancograt or Crast Alva (both meaning White Ridge), is the most well-known and attractive route to the summit, and is much more difficult than the normal route. The route starts from the Tschierva Hut (2,584 m -8,478 ft) in Val Roseg, accessible from Pontresina. The Biancograt itself starts at the Fuorcla Prievlusa (3,430 m -11,250 ft)) and leads to Piz Bianco (3,995 m -13,107 ft). To reach the summit, the Bernina gap – which repulsed Cordier, Middlemore, Jaun and Maurer in 1876 – has to be traversed.
Sources: 
- Dictionnaire historique de la Suisse

The painter 
Albert Bierstadt was a German-born American painter. He was brought to the United States at the age of one by his parents. He later returned to study painting for several years in Düsseldorf. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth.
In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic river. Their style was based on carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. An important interpreter of the western landscape, Bierstadt, along with Thomas Moran, is also grouped with the Rocky Mountain School.
- More about Albert Bierstadt