PICO DE MARIA COMPRIDA PEINT PAR AGOSTINHO JOSE DA MOTA

AGOSTINHO JOSE DA MOTA (1824-1878)
Pico de Maria Comprida (1,926 m)
Brésil

 In Paisagem do Rio de Janeiro, huile sur toile, 130 x 79cm

 
La montagne
Le Pico da Maria Comprida (1,926m) est connu parmi les grimpeurs brésiliens pour abriter la voie d'escalade Maria Nebulosa , qui fut également la première voie du pays avec plus de 1000 mètres de longueur. Avec la nouvelle zone de protection, les habitants de la région et les alpinistes prévoient d'explorer ces attractions de manière durable et de promouvoir ainsi l'écotourisme et le tourisme rural dans la région.

Le peintre
Agostinho José da Mota était peintre, dessinateur et professeur brésilien. Ainsi, en 1837, il s'inscrit à l'Académie Impériale des Beaux-Arts. Il fut un brillant élève et, pour ses mérites et ses compétences démontrés, il reçut le prix d'un voyage en Europe en 1850. De retour au Brésil, en 1856, il est l'un des fondateurs de la Société de propagation des beaux-arts de Rio de Janeiro. Deux ans plus tard, il peint les portraits du couple impérial - Dom Pedro II (1825 - 1891) et Dona Teresa Cristina (1822 - 1889). La majeure partie de la production artistique d'Agostinho de Motta est constituée de paysages et de natures mortes. Sa représentation du paysage brésilien est parmi les meilleures qui impriment les valeurs et les normes de l'Académie Impériale des Beaux-Arts (AIBA), dans laquelle il a étudié et a ensuite été professeur, tant dans la formation de l'idée d'image nationale que comme dans la formation de l’image de l’empire. Agostinho Mota l'a fait pour ses œuvres artistiques, comme le portrait du couple impérial et les archives de la scène de l'époque.Les paysages d'Agostinho Motta sont les œuvres les plus célèbres de l'artiste. Ils se distinguent par la précision topographique, par le registre exact des dimensions des scénarios et par la compétence avec laquelle ils capturent les transpositions entre les différentes couleurs qui constituent ses extérieurs travaillés. Les scénarios choisis par l'artiste démontrent la dimension marquée de l'identité nationale qu'Agostinho Mota entendait représenter dans ses peintures, comme le Paysage de Rio de Janeiro, ci dessus influencé par les canons de l'AIBA.

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2011-2024 - Gravir les montagnes en peinture
Un blog de Francis Rousseau  

 

PICO DA NEBLINA EN POSTER ANCIEN

POSTER ANONYME (c.1960)
Pico da Neblina (2 995m)
Brésil (Amazonas)

La montagne
Le Pico da Neblina (2 995 m)« pic du brouillard », en français est une montagne brésilienne située dans le nord de l'État d'Amazonas, à proximité de la frontière vénézuélienne. Il s'agit du point culminant du Brésil,. Il donne son nom au parc national du Pico da Neblina, au sein duquel il se situe. Le Pico da Neblina tire son nom des brouillards quasi permanents qui entourent son sommet et qui l'ont rendu presque invisible des rares habitants de la région, jusqu'au milieu du xxe siècle. Le Picoda Neblina se trouve sur la commune de Santa Isabel do Rio Negro, dans l'État brésilien d'Amazonas, mais est situé à environ 180 km du centre de la ville. L'accès en est très difficile, sauf à traverser la jungle amazonienne. En outre, l'autorité de cette lointaine municipalité est supplantée par celle du parc national et de la Réserve Yanomami. La ville la plus proche est en fait São Gabriel da Cachoeira, située à environ 140 km et dont partent toutes les expéditions d'ascensions. Le Pico da Neblina est, par raccourci, souvent considéré comme la frontière entre le Brésil et le Venezuela mais le sommet est en réalité entièrement en territoire brésilien. Le Pico 31 de Março, situé à une distance de seulement 687 m, est, en revanche, à l'exacte frontière entre les deux pays. Son altitude n'est que de 21 m de moins, soit 2 974 m.
Le massif montagneux est compris dans le parc national brésilien Pico da Neblina. Son versant nord est protégé par le parc national Serranía de la Neblina, vénézuélien. Ces deux parcs
représentent, avec l'adjonction du parc national voisin Parima Tapirapecó, une forêt tropicale humide protégée d'environ 80 000 km2, la plus étendue du monde.
Le Pico da Neblina est aussi compris dans la réserve du peuple Yanomami
Le Pico da Neblina étant situé à la fois dans un parc national et sur une réserve Yanomami, l'accès à cette montagne est restreint et soumis à une autorisation spéciale de l'IBAMA (Brazilian Institute of Environment and Renewable Natural Resources). Seul un guide accrédité peut accompagner les grimpeurs. L'ascension dure quatre jours, dont trois dans la jungle amazonienne où les secours n'ont aucun accès 

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2023 - Gravir les montagnes en peinture
Un blog de Francis Rousseau

 

DEDO DE DEUS PEINT PAR ELISEU VISCONTI

ELISEU VISCONTI (1866-1944)
Dedo de Deus (1,682m - 5,551ft)
Brésil

La montagne
Dedo de Deus (Le Doigt de Dieu) (1 ,682 m - 5 ,551 fr) est un massif dont le contour ressemble à une main pointant l'index vers le ciel. C'est l'un des nombreux monuments géologiques de la Serra dos Órgãos qui se situe à Serra do Mar, entre les villes de Petrópolis, Guapimirim et Teresópolis, dans l'État de Rio de Janeiro, au Brésil. L'alpinisme au Brésil est étroitement lié à l'ascension du Dedo de deus. Le pic est un symbole de l'État de Rio de Janeiro, apparaissant sur son drapeau et ses armoiries, symbolisant la justice, la vérité et la loyauté, avec la silhouette de la Serra dos Órgãos. Ce symbole a été mis en place par la Constitution de 1892 et officialisé sous le gouvernement de José Tomás da Porciúncula, avec de petites différences au fil du temps. En 1912, les alpinistes José Guimarães Teixeira, Raul Carneiro et les frères Américo, Alexandre et Acácio de Oliveira, tous de Teresópolis, ont été les premiers vaincre au sommet de la formation rocheuse.

L'artiste
Eliseu Visconti, né Eliseo d'Angelo Visconti était un peintre, dessinateur et enseignant brésilien d'origine italienne. Il est considéré comme l'un des rares peintres impressionnistes du Brésil et comme l'initiateur de l'art nouveau dans ce vaste pays.
Grâce à un prix reçu en 1892, Visconti se rend à Paris, où il fréquente l'École des beaux-arts. Il suit également des cours à l'Académie Julian et à l'École nationale supérieure des arts décoratifs, où il est l'élève du maître de l'art nouveau Eugène Grasset. Il est accepté au Salon de la Nationale des Beaux Arts et au Salon de la Société des Artistes Français. En tant que l'un des représentants brésiliens à l'Exposition Universelle de 1900, il expose les peintures Gioventú et Oréadas, pour lesquelles il reçoit une médaille d'argent. De retour au Brésil, Visconti expose à Rio de Janeiro et São Paulo, et obtient la première place à un concours de dessin de timbres postaux pour la Casa da Moeda brésilienne. Il voyage à nouveau en Europe, où il expose au Salon de Paris de 1905 le portrait de l'artiste Nicolina Vaz de Assis, aujourd'hui au Museu Nacional de Belas Artes. Cette même année, il est invité à peindre le rideau de scène du Teatro Municipal de Rio de Janeiro qu'il réalise dans son atelier à Paris.
De cette époque datent des projets décoratifs exécutés pour la  Biblioteca Nacional de (Rio de Janeiro), ainsi qu'une autre médaille d'or qu'il reçut à l'Exposition internationale de Saint-Louis (Louisiana Purchase Exposition), en 1904, pour le tableau Recompensa de São Sebastião . Le musée de Santiago du Chili acquit son Sonho Místico (Rêve mystique) en 1912. En 1913, Visconti retourna en Europe afin de peindre des panneaux à grande échelle pour le "foyer" du Theatro Municipal do Rio de Janeiro. Ses projets de retour étant interrompus par la Première Guerre mondiale, il resta en France jusqu'en 1920. Les peintures du "foyer" qui en résultent sont envoyées au Brésil pendant la guerre, en 1915. En 1922, son triptyque "Lar" lui vaut la Médaille de Honneur dans une exposition créée à Rio de Janeiro pour commémorer le premier centenaire de l'indépendance du Brésil, l'Exposição do Centenário. L'année suivante, Visconti peint la décoration murale de la salle du conseil municipal de Rio de Janeiro. En 1924, il peint le panneau représentant la signature de la première Constitution républicaine, pour l'ancien tribunal fédéral, également à Rio de Janeiro.

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2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau

PAO DE AÇUCAR PAINTED BY CHARLES LANDEER

 

 

CHARLES LANDEER (1799-1879)
Pao de Açucar / Sugarloaf Mountain / (396 m - 1299 ft)
Brazil

In View of Sugarloaf Mountain from the Silvestre Road 1827, oil on canvas, 61,5 x 91 cm,
Pinacoteca do Estado de São Paulo, Brazil

The painter
Charles Landseer (RA) was an English painter, mostly of historical subjects. He was born the second son of the engraver John Landseer, and the elder brother of the animal painter, Sir Edwin Landseer. He trained under his father, and the painter Benjamin Robert Haydon. He was awarded the silver palette of the Royal Society of Arts for a drawing of Laocoon in 1815, and in 1816 he entered the Royal Academy Schools where he was taught by Henry Fuseli. In 1823 he accompanied Sir Charles Stuart de Rothesay on a diplomatic mission to Portugal and Brazil. Many of the drawings he made on the journey were shown at the British Institution in 1828. He became an associate in of the Royal Academy in 1837, and a full academician in 1845. In 1851, he was appointed Keeper of the Royal Academy, a post requiring him to teach in the "Antique School". He remained in the position until 1873.  Most of his pictures were of subjects from British history, or from literature. He paid close attention to the historical accuracy of the accessories and details in his paintings. His works included The Meeting of Charles I. and his Adherents before the Battle of Edgehill, Clarissa Harlowe in the Prison Room of the Sheriff's Office (1833, now in the collection of the Tate Gallery), The Pillaging of a Jew's House in the Reign of Richard I (1839, Tate Gallery) and The Temptation of Andrew Marvel (1841). While under Haydon's instruction he also made a series of detailed anatomical drawings.  He died in London on 22 July 1879, leaving  quite generously 10,000 guineas to the Royal Academy to fund scholarships.

The mountain
Sugarloaf Mountain (396 m - 1299 ft), Pao de Açucar in Portuguese, Pain de Sucre in French, is a isolated peak (Inselberg) situated in Rio de Janeiro, Brazil, at the mouth of Guanabara Bay on a peninsula that sticks out into the Atlantic Ocean. Rising above the harbor, its name is said to refer to its resemblance to the traditional shape of concentrated refined loaf sugar. It is known worldwide for its cableway and panoramic views of the city. The name "Sugarloaf" was coined in the 16th century by the Portuguese during the heyday of sugar cane trade in Brazil. According to historian Vieira Fazenda, blocks of sugar were placed in conical molds made of clay to be transported on ships. The shape given by these molds was similar to the peak, hence the name.
Climbing routes:
1907 – The Brazilian engineer Augusto Ferreira Ramos had the idea of linking the hills through a path in the air.
1910 – The same engineer founded the Society of Sugar Loaf and the same year the works were started. The project was commissioned in Germany and built by Brazilian workers. All parts were taken by climbing mountains or lift by steel cables.
1912 – Opening of the tram. First lift of Brazil. The first cable cars were made of coated wood and were used for 60 years.
1972 – The current template trolley was put into operation. This increased the carrying capacity by almost ten times.
2009 – Inauguration of the next generation of cable cars that had already been purchased and are on display at the base of Red Beach.
Visitors can watch rock climbers on Sugarloaf and the other two mountains in the area: Morro da Babilônia (Babylon Mountain), and Morro da Urca (Urca's Mountain). Together, they form one of the largest urban climbing areas in the world, with more than 270 routes, between 1 and 10 pitches long.

DEDO DE DEUS (2) PAINTED BY ELISEU VISCONTI

 

ELISEU VISCONTI (1866-1944)
Dedo de Deus (1,682m - 5,551ft)
Brazil

About this mainting
Eliseu Visconti painted a lot of times,the Dedo De Deus mountain in the Serra de Orgaos, in any season and in all possible light, at any time of day. It is THE  repetitive motif in his work, a bit like the Montagne Sainte-Victoire for Paul Cézanne or  the volcano Chimborazo for Frederic Edwin Church or Mount Everest for Nicholas Roerich.

The mountain
Dedo de Deus (The Finger of God) (1,682m - 5,551ft) is a peck whose outline resembles a hand pointing the index finger to the sky. It is one of the several geological monuments of Serra dos Órgãos which is located in Serra do Mar, between the cities of Petrópolis, Guapimirim and Teresópolis, in the state of Rio de Janeiro, in Brazil. The mountaineering in Brazil is closely linked to the achievement of the Dedo de deus. The peak is a state symbol Rio de Janeiro, appearing on its flag and coat of arms. As for the coat of arms of the State of Rio de Janeiro, the first section, occupying the upper half, is blue, representing the sky and symbolizing justice, truth and loyalty, with the silhouette of the Serra dos Órgãos, highlighting the Dedo de Deus. The symbol was created by the 1892 State Constitution and made official under the government of José Tomás da Porciúncula, with small differences over time. In 1912, José Guimarães Teixeira, Raul Carneiro and the brothers Américo, Alexandre and Acácio de Oliveira, all from Teresópolis, were the first to step on top of the rock formation.


The artist
Eliseu Visconti, born Eliseo d'Angelo Visconti was an Italian-born Brazilian painter, cartoonist, and teacher. He is considered one of the very few impressionist painters of Brazil. He is considered the initiator of the art nouveau in Brazil.
Thanks to a prize received in 1892, Visconti travelled to Paris, where he attended the École des Beaux Arts the following year. He also took classes at the Académie Julian and the École nationale supérieure des arts décoratifs, where he was a pupil of art nouveau master Eugène Grasset. He was accepted at the Salon de la Nationale des Beaux Arts and at the Salon of the Société of des Artistes Français. As one of the Brazilian representatives to the Exposition Universelle 1900 he exhibited the paintings Gioventú and Oréadas, for which he received a silver medal. Back in Brazil, Visconti exhibited in Rio de Janeiro and São Paulo, and obtained the first place in a contest for the drawing of postal stamps for the Brazilian Casa da Moeda. He traveled again to Europe, where he exhibited at the Paris Salon of 1905 the portrait of the artist Nicolina Vaz de Assis now at the Museu Nacional de Belas Artes. In this same year, he was invited to paint the stage curtain for the Teatro Municipal of Rio de Janeiro which he completed in his studio in Paris.
Decorative schemes executed for the National Library or Biblioteca Nacional in (Rio de Janeiro) date from this period as does another gold medal he received at the International Exhibition of Saint-Louis (Louisiana Purchase Exposition), in 1904, for the painting Recompensa de São Sebastião (see external links). The museum of Santiago of the Chile acquired his Sonho Místico (Mystical Dream) in 1912. In 1913, Visconti returned to Europe in order to paint large scale panels for the "foyer" of the Theatro Municipal do Rio de Janeiro. His plans to return were interrupted by the First World War so he stayed in France until 1920. The resulting paintings for the "foyer" were sent to Brazil during the war, in 1915. In 1922 his triptych "Lar" gained him the Medal of Honor in a large exhibition created in Rio de Janeiro to commemorate the first centennial of Brazilian Independence, the Exposição do Centenário. The following year Visconti painted the mural decoration of Rio de Janeiro's municipal council hall. In 1924, he painted the panel depicting the signature of the first Republican Constitution, for the old federal court, also in Rio de Janeiro.
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2022 - Wandering Vertexes...
by Francis Rousseau

DEDO DE DEUS PAINTED BY ELISEU VISCONTI

ELISEU VISCONTI (1866-1944)
Dedo de Deus (1,682m - 5,551ft)
Brazil

The mountain
Dedo de Deus (The Finger of God) (1,682m - 5,551ft) is a peck whose outline resembles a hand pointing the index finger to the sky. It is one of the several geological monuments of Serra dos Órgãos which is located in Serra do Mar, between the cities of Petrópolis, Guapimirim and Teresópolis, in the state of Rio de Janeiro, in Brazil. The mountaineering in Brazil is closely linked to the achievement of the Dedo de deus. The peak is a state symbol Rio de Janeiro, appearing on its flag and coat of arms. As for the coat of arms of the State of Rio de Janeiro, the first section, occupying the upper half, is blue, representing the sky and symbolizing justice, truth and loyalty, with the silhouette of the Serra dos Órgãos, highlighting the Dedo de Deus.  The symbol was created by the 1892 State Constitution and made official under the government of José Tomás da Porciúncula, with small differences over time.  In 1912, José Guimarães Teixeira, Raul Carneiro and the brothers Américo, Alexandre and Acácio de Oliveira, all from Teresópolis, were the first to step on top of the rock formation.

The artist
Eliseu Visconti, born Eliseo d'Angelo Visconti was an Italian-born Brazilian painter, cartoonist, and teacher. He is considered one of the very few impressionist painters of Brazil. He is considered the initiator of the art nouveau in Brazil.
Thanks to a prize received in 1892, Visconti travelled to Paris, where he attended the École des Beaux Arts the following year. He also took classes at the Académie Julian and the École nationale supérieure des arts décoratifs, where he was a pupil of art nouveau master Eugène Grasset. He was accepted at the Salon de la Nationale des Beaux Arts and at the Salon of the Société of des Artistes Français. As one of the Brazilian representatives to the Exposition Universelle 1900 he exhibited the paintings Gioventú and Oréadas, for which he received a silver medal. Back in Brazil, Visconti exhibited in Rio de Janeiro and São Paulo, and obtained the first place in a contest for the drawing of postal stamps for the Brazilian Casa da Moeda.  He traveled again to Europe, where he exhibited at the Paris Salon of 1905 the portrait of the artist Nicolina Vaz de Assis now at the Museu Nacional de Belas Artes. In this same year, he was invited to paint the stage curtain for the Teatro Municipal of Rio de Janeiro which he completed in his studio in Paris.
Decorative schemes executed for the National Library or Biblioteca Nacional in (Rio de Janeiro) date from this period as does another gold medal he received at the International Exhibition of Saint-Louis (Louisiana Purchase Exposition), in 1904, for the painting Recompensa de São Sebastião (see external links). The museum of Santiago of the Chile acquired his Sonho Místico (Mystical Dream) in 1912.  In 1913, Visconti returned to Europe in order to paint large scale panels for the "foyer" of the Theatro Municipal do Rio de Janeiro. His plans to return were interrupted by the First World War so he stayed in France until 1920. The resulting paintings for the "foyer" were sent to Brazil during the war, in 1915.  In 1922 his triptych "Lar" gained him the Medal of Honor in a large exhibition created in Rio de Janeiro to commemorate the first centennial of Brazilian Independence, the Exposição do Centenário.  The following year Visconti painted the mural decoration of Rio de Janeiro's municipal council hall. In 1924, he painted the panel depicting the signature of the first Republican Constitution, for the old federal court, also in Rio de Janeiro.

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2021 - Wandering Vertexes...
by Francis Rousseau

PAO DA AÇUCAR BY AGOSTINHO JOSE DA MOTA

AGOSTINHO JOSE DA MOTA (1824-1878)
 Pao de Açucar  / Sugarloaf mountain  (396 m - 1,299 ft)

Brazil

In  Vista da Gambo no Rio de Janeiro,1852, oil on canvas 

The mountain
Pao de Açucar  (396 m - 1299ft), Sugarloaf Mountain in english, Pain de Sucre in French,  is a isolated peak (Inselberg) situated in Rio de Janeiro, Brazil, at the mouth of Guanabara Bay on a peninsula that sticks out into the Atlantic Ocean. Rising above the harbor, its name is said to refer to its resemblance to the traditional shape of concentrated refined loaf sugar. It is known worldwide for its cableway and panoramic views of the city. The name "Sugarloaf" was coined in the 16th century by the Portuguese during the heyday of sugar cane trade in Brazil. According to historian Vieira Fazenda, blocks of sugar were placed in conical molds made of clay to be transported on ships. The shape given by these molds was similar to the peak, hence the name.

The painter 
Agostinho José da Mota was a painter, draftsman and Brazilian professor. Thus, in 1837, enrolled in the Imperial Academy of Fine Arts. He was a brilliant student and for the merits and competence demonstrated, received the prize for a trip to Europe, in 1850. Returning to Brazil, in 1856, he is one of the founders of the Society Propagating Fine Arts of Rio de Janeiro. Two years later, he  painted the portraits of the imperial couple - Dom Pedro II (1825 - 1891) and Dona Teresa Cristina (1822 - 1889).
Most of Agostinho de Motta's artistic production consists of landscapes and still lifes. His representation of the Brazilian landscape is among the best that prints the values and standards of the Imperial Academy of Fine Arts (AIBA), in which he studied and later was professor, both in the formation of the idea of a national image, as well as in the formation of the image of the empire. Agostinho Mota did this for his artistic works, such as the portrait of the imperial couple and the records of the scene of the time.
The landscapes of Agostinho Motta are the most famous works of the artist. They stand out for the topographical precision, for the exact register of the dimensions of the scenarios and for the competence with which it captures the transpositions between the various colors that constitute its worked exteriors. The scenarios chosen by the artist demonstrate the marked dimension of the national identity that Agostinho Motta intended to portray in his paintings, as the Landscape of Rio de Janeiro, 1857, influenced by the canons of AIBA.
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2019 - Wandering Vertexes...
by Francis Rousseau 

CERRO RORAIMA BY CHARLES BENTLEY

CHARLES BENTLEY (1805-1854) 

 Cerro Roraima (2,810 m - 9,220 ft)

Brazil, Venezuela, Guyana border 

In Roraima (on right)  from  Views in the Interior of Guiana, Tepuy Roraima, lithograph, 1870,  British Library 

The mountain 
 Cerro Roraima (2,810m- 9,220ft) or  Tepuy Roraima  is the highest of the Pakaraima chain of Tepui plateaus in South America. First described by the English explorer Sir Walter Raleigh during his 1595 expedition, its 31-square-kilometre (12-square-mile) summit area is bounded on all sides by cliffs rising 400 metres (1,300 ft). The mountain also serves as the tripoint of Venezuela, Guyana and Brazil. Mount Roraima lies on the Guiana Shield in the southeastern corner of Venezuela's 30,000-square-kilometre (12,000-square-mile) Canaima National Park forming the highest peak of Guyana's Highland Range.
The highest point in Guyana and the highest point of the Brazilian state of Roraima lie on the plateau, but Venezuela and Brazil have higher mountains elsewhere. The triple border point is at 5°12′08″N 60°44′07″W,[6] but the mountain's highest point is Maverick Rock or Maverick Stone, at the southern end of the plateau and wholly within Venezuela.

The artist
Charles Bentley was an English watercolour painter of coastal and river scenery. Bentley was born in 1805 or 1806, the son of a master-carpenter and builder living in Tottenham Court Road, London. He was sent to work colouring prints for Theodore Fielding to whom he was eventually apprenticed in order to learn aquatinting. During his apprenticeship he was sent to Paris, probably to assist work on the plates for Excursion sur les Cotes et dans les Ports de Normandie' (Paris, 1823-5), most of which were after watercolours by Richard Bonington.
Bentley painted scenes all over Britain, in Jersey, the north of Ireland, and in Normandy, which he visited several times with Callow between 1836 and 1841. He also exhibited views of Venice, Holland and Düsseldorf, but it is not certain that he actually went to these places, as he is known to have painted works after sketches by other people, such as his paintings of Trebizond and Abydos, shown in 1841 and 1849, based on drawings by Coke Smyth. He also worked up the illustrations for 12 Views in the Interior of Guiana (above) , published by Rudolf Ackermann in 1841, from studies done on an expedition to South America by John Morison.
Bentley was not financially successful: Samuel Redgrave described him as "uncertain in his transactions, and always poor". He died of cholera on 4 September 1854, leaving a widow.
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2018 - Wandering Vertexes...
by Francis Rousseau 

CERRO RORAIMA BY CHARLES BARRINGTON BROWN

 

CHARLES BARRINGTON BROWN (1839 -1917)

 Cerro Roraima (2,810 m- 9,220 ft)

Brazil, Venezuela, Guyana border 

In Tepuy Roraima, lithograph, 1870,  British Library 

The mountain 
 Cerro Roraima (2,810m- 9,220ft) or  Tepuy Roraima  is the highest of the Pakaraima chain of Tepui plateaus in South America. First described by the English explorer Sir Walter Raleigh during his 1595 expedition, its 31-square-kilometre (12-square-mile) summit area is bounded on all sides by cliffs rising 400 metres (1,300 ft). The mountain also serves as the tripoint of Venezuela, Guyana and Brazil. Mount Roraima lies on the Guiana Shield in the southeastern corner of Venezuela's 30,000-square-kilometre (12,000-square-mile) Canaima National Park forming the highest peak of Guyana's Highland Range.
The highest point in Guyana and the highest point of the Brazilian state of Roraima lie on the plateau, but Venezuela and Brazil have higher mountains elsewhere. The triple border point is at 5°12′08″N 60°44′07″W,[6] but the mountain's highest point is Maverick Rock or Maverick Stone, at the southern end of the plateau and wholly within Venezuela.

The artist 
Charles Barrington Brown (1839 -1917) is a Canadian geologist and explorer. He studied at Harvard University and the Royal School of Mines. In 1869 and 1872, it took up to 17 days from British Guiana to reach Mount Roraima on the border with Brazil and Venezuela. He is the first to describe the Tök-Wasen, a monolith located at the southern end of the mountain, and to suggest the ascent by a balloon. He is also the discoverer of Kaieteur Falls on the Potaro, a tributary of Essequibo, on April 24, 1870, and New River Springs in 1871.
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2018 - Wandering Vertexes...
by Francis Rousseau 

SERRA DE ORGAOS BY AGOSTINHO JOSE DA MOTA

AGOSTINHO JOSE DA MOTA (1824-1878)

Serra dos Orgaos: 

Pedra do Sino (2,263m- 7,425 ft)

Dedo de Deus (1,682m - 5,551ft) 

Escalavrado  (1,490m -4,890 ft) 

Brazil

 In Palácio Imperial de Petrópolis, 1855, oil on canvas, Pinacoteca si Estado de Sao Paulo

The mountains 

Pedra do Sino (Bell Rock) at 2,263 metres (7,425 ft),  Dedo de Deus (God's finger) at 1,682m (5,551ft) and  Escalavrado at 1,692 m (5,551 ft) are the highest  peaks int the Serra dos Órgãos  (Organ Range), a mountain range located in the state of Rio de Janeiro, Brazil and containing the Serra dos Órgãos National Park. The peaks with steep rock walls are dramatic features that can be seen on a clear day from Rio de Janeiro, which is 50 kilometres (31 mi) distant. The Serra dos Órgãos cover san area of 20,024 hectares (49,480 acres). The range is an escarpment on the northern edge of the Guanabara Graben between the cities of Petropolis and Teresopolis. The name comes from perceived resemblance of the vertical rock formations created by erosion to the tubes of organs.

A north west fracture is exposed at the plateau's rock surfaces, which defines the direction of the ridges and valleys along the escarpment. One of these ridges contains several granite peaks including God's Finger. Formation of the rocks may have occurred around 620 million years ago. North east vertical fractures, spaced regularly about every 500 m (1,600 ft), cut the north west structures at right angles. Erosion along these fractures has isolated the massive rock blocks. The valleys have well-preserved deposits of debris that has fallen from the rock walls. In November 1981 a period of intense rain triggered hundreds of shallow landslides and flows of debris that blocked the BR-116 highway and killed about 20 people.

The painter 
Agostinho José da Mota was a painter, draftsman and Brazilian professor. Thus, in 1837, enrolled in the Imperial Academy of Fine Arts. He was a brilliant student and for the merits and competence demonstrated, received the prize for a trip to Europe, in 1850. Returning to Brazil, in 1856, he is one of the founders of the Society Propagating Fine Arts of Rio de Janeiro. Two years later, he  painted the portraits of the imperial couple - Dom Pedro II (1825 - 1891) and Dona Teresa Cristina (1822 - 1889).
Most of Agostinho de Motta's artistic production consists of landscapes and still lifes. His representation of the Brazilian landscape is among the best that prints the values and standards of the Imperial Academy of Fine Arts (AIBA), in which he studied and later was professor, both in the formation of the idea of a national image, as well as in the formation of the image of the empire. Agostinho Mota did this for his artistic works, such as the portrait of the imperial couple and the records of the scene of the time.
The landscapes of Agostinho Motta are the most famous works of the artist. They stand out for the topographical precision, for the exact register of the dimensions of the scenarios and for the competence with which it captures the transpositions between the various colors that constitute its worked exteriors. The scenarios chosen by the artist demonstrate the marked dimension of the national identity that Agostinho Motta intended to portray in his paintings, as the Landscape of Rio de Janeiro, 1857, influenced by the canons of AIBA. 

SERRA DOS ORGAOS BY JOHANN MORITZ RUGENDAS

JOHANN MORITZ RUGENDAS (1802-1858)

Serra dos Orgaos: 

Pedra do Sino (2,263m- 7,425 ft)

Dedo de Deus (1,682m - 5,551ft) 

Escalavrado  (1,490m -4,890 ft) 

Brazil

 In Serra dos Orgaos, 1820, engraving, Centro de documentaçao D. Joaoa VI, Brazil

The mountains 

Pedra do Sino (Bell Rock) at 2,263 metres (7,425 ft),  Dedo de Deus (God's finger) at 1,682m (5,551ft) and  Escalavrado at 1,692 m (5,551 ft) are the highest  peaks int the Serra dos Órgãos  (Organ Range), a mountain range located in the state of Rio de Janeiro, Brazil and containing the Serra dos Órgãos National Park. The peaks with steep rock walls are dramatic features that can be seen on a clear day from Rio de Janeiro, which is 50 kilometres (31 mi) distant. The Serra dos Órgãos cover san area of 20,024 hectares (49,480 acres). The range is an escarpment on the northern edge of the Guanabara Graben between the cities of Petropolis and Teresopolis. The name comes from perceived resemblance of the vertical rock formations created by erosion to the tubes of organs.

A north west fracture is exposed at the plateau's rock surfaces, which defines the direction of the ridges and valleys along the escarpment. One of these ridges contains several granite peaks including God's Finger. Formation of the rocks may have occurred around 620 million years ago. North east vertical fractures, spaced regularly about every 500 m (1,600 ft), cut the north west structures at right angles. Erosion along these fractures has isolated the massive rock blocks. The valleys have well-preserved deposits of debris that has fallen from the rock walls. In November 1981 a period of intense rain triggered hundreds of shallow landslides and flows of debris that blocked the BR-116 highway and killed about 20 people.

The painter 

Johann Moritz Rugendas was a German painter, famous for his works depicting landscapes and ethnographic subjects in several countries in the Americas, in the first half of the 19th century. Rugendas is considered "by far the most varied and important of the European artists to visit Latin America." whom Alexander von Humboldt influenced.  

Rugendas was born in Augsburg, then Holy Roman Empire, now Germany, into the seventh generation of a family of noted painters and engravers of Augsburg, the great grandson of Georg Philipp Rugendas, 1666–1742, a famous painter of battles.  Inspired by the artistic work of Thomas Ender (1793–1875) and the travel accounts in the tropics by German naturalists Johann Baptist von Spix (1781–1826) and Carl von Martius (1794–1868), in the course of the Austrian Brazil Expedition, Rugendas arrived in Brazil in 1821. There he was soon hired as an illustrator for Baron von Langsdorff's scientific expedition to Minas Gerais and São Paulo. Consul-general of the Russian Empire in Brazil, Langsdorff had a farm in the northern region of Rio de Janeiro, where Rugendas went to live with other members of the expedition. Rugendas visited the Serra da Mantiqueira and the historical towns of Barbacena, São João del Rei, Mariana, Ouro Preto, Caeté, Sabará and Santa Luzia. Just before the fluvial phase of the expedition started (a fateful journey to the Amazon), he became alienated from von Langsdorff, left the expedition and was replaced by the artists Adrien Taunay and Hércules Florence. However, he remained on his own in Brazil until 1825, exploring and recording his many impressions of daily life in the provinces of Mato Grosso, Pernambuco, Bahia, Espírito Santo and Rio de Janeiro. He produced mostly drawings and watercolors.
- More about Johann Moritz Rugandas

MORRO DO CARECA PAINTED BY ANTONIO PARREIRAS

ANTONIO PARREIRAS (1860-1937)

Morro do Careca (120 m - 390 ft)

Brazil 

 In  Ponta negra, oil on canvas, 1930, Museu Antonio Parreiras

The mountain 

Morro Do Carreca (120 m - 390 ft) It is the main symbol and a common sight on tourist postcards of the city and the state of Rio Grande do Norte,  located in the extreme south of Ponta Negra, the capital's most famous beach. In the past Morro do Careca was a spot for recreation and entertainment. The bathers and tourists would climb up the hill and come down with the help of a device called skibunda. Since the end of the 1990s, it has been closed to visitors. The reason for the closure is the dune's protection; the preservation of forest will aid in safeguarding against erosion, ensuring that the sand does not slip and thus reduce the height of the hill. At present, all activity on the dune remains suspended.

The painter 

Antonio Diogo da Silva Parreiras was a Brazilian painter, designer and illustrator.  In 1882, he enrolled at the Academia Imperial de Belas Artes in Rio de Janeiro, but left two years later to attend the free painting classes being offered by the German immigrant artist Georg Grimm.  In 1885, when Grimm left to work in the countryside, Parreiras became an autodidact. A year later, one of his works was purchased by Emperor Pedro II. This allowed him to resume his formal studies and travel to Europe in 1888, entering the Accademia di Belle Arti di Venezia where his teacher was Filippo Carcano.  Upon his return to Brazil two years later, he participated in the "Exposiaгo Gerais de Belas Artes". Later that same year, he became a Professor of landscape painting at the Escola Nacional de Belas Artes (ENBA) and, following the example set by Grimm, introduced his students to plein-air painting.  Following disagreements with ENBA over changes in the curriculum, he set up his own school called the " Escola do Ar Livre".

He was soon doing much of his work in the forests outside Teresуpolis. He also received numerous commissions to paint historical scenes and, after 1899, did decorations for the government in public buildings, such as the "Allegory of Apollo and the Goddesses of the Hours", which he created for the Palбcio da Liberdade in Belo Horizonte. His female nudes are also considered to be especially well done. From 1906 to 1919, he maintained a second studio in Paris and exhibited at the Salon.  He was also named a delegate of the Société Nationale des Beaux-Arts in 1911.

In 1925 he was chosen as Brazil's best artist by the readers of Fon-Fon, a magazine created by art critic Gonzaga Duque. The following year, he published his autobiography and was inducted into the "Academia Fluminense de Letras". Four years after his death, his former studio became the Museu Antonio Parreiras.

SERRA DOS ORGAOS BY GEORG GRIMM

GEORG GRIMM (1846-1887) 

 Pedra do Sino (2,263m- 7,425 ft)

Dedo de Deus (1,682m - 5,551ft) 

Escalavrado  (1,490m -4,890 ft) 

Brazil

 In Serra dos Órgãos seen from Teresópolis, 1885, oil on canvas, Private collection 

The mountains 

Pedra do Sino (Bell Rock) at 2,263 metres (7,425 ft),  Dedo de Deus (God's finger) at 1,682m (5,551ft) and  Escalavrado at 1,692 m (5,551 ft) are the highest  peaks int the Serra dos Órgãos  (Organ Range), a mountain range located in the state of Rio de Janeiro, Brazil and containing the Serra dos Órgãos National Park. The peaks with steep rock walls are dramatic features that can be seen on a clear day from Rio de Janeiro, which is 50 kilometres (31 mi) distant. The Serra dos Órgãos cover san area of 20,024 hectares (49,480 acres). The range is an escarpment on the northern edge of the Guanabara Graben between the cities of Petropolis and Teresopolis. The name comes from perceived resemblance of the vertical rock formations created by erosion to the tubes of organs.

A north west fracture is exposed at the plateau's rock surfaces, which defines the direction of the ridges and valleys along the escarpment. One of these ridges contains several granite peaks including God's Finger. Formation of the rocks may have occurred around 620 million years ago. North east vertical fractures, spaced regularly about every 500 m (1,600 ft), cut the north west structures at right angles. Erosion along these fractures has isolated the massive rock blocks. The valleys have well-preserved deposits of debris that has fallen from the rock walls. In November 1981 a period of intense rain triggered hundreds of shallow landslides and flows of debris that blocked the BR-116 highway and killed about 20 people.

The painter 
Johann Georg Grimm  was a German painter, designer and decorator who is best known for the work he produced during a lengthy stay in Brazil. He worked his way across Bavaria, finally arriving in Munich in 1868, where he had accumulated just enough money to study at the Academy of Fine Arts under Karl von Piloty and Franz Adam. Despite living in a great poverty, he completed his studies successfully. He briefly served in the Franco-Prussian War, where he met the painter Thomas Georg Driendl, who would later join him in Brazil and work with him on several projects.
In 1872, he went on foot to Berlin, where a benefactor helped him to study fresco painting. He left Berlin later that year and headed for Italy. After extensive travels through Italy, North Africa via Sicily, Spain, France and England, he finally found himself in Lisbon and decided to go to Brazil, probably arriving in late 1877 or early 1878. He settled in Rio de Janeiro and soon teamed up with a fellow German immigrant who owned a painting and decorating company. His interest in landscapes began when he was hired by the owners of the nearby fazendas to paint topographical pictures of their properties, which he executed with photographic precision.
He briefly returned to Germany from 1880 to 1881, following the death of his father, then took off travelling again; this time eastward, to Greece, Turkey, Palestine and Egypt. After a stay in Corsica, he returned to Brazil. Shortly after his arrival, he and his old friend Driendl were hired to create decorations at the Liceu Literário Português which, unfortunately, were destroyed by fire in 1932. He then participated in an exhibition presented by the Sociedade Propagadora das Belas Artes, where he displayed the works he had painted after his earlier travel.  He received the Gold Medal and much public praise, which resulted in his appointment to a vacant chair at the Academia Imperial de Belas Artes,  obtained for him with the recommendation of Emperor Pedro II. One of the first things he did there was introduce the practice of plein-air painting.
Continuous disagreements with the Academy's leadership over his teaching methodology led to his resignation in 1884. Some of his students left with him and formed what came to be known as the "Grupo Grimm". It included many artists who would later become very well-known, such as Giovanni Battista Castagneto and Antônio Parreiras. The group had their first exhibition later that year at the Exposição Geral de Belas Artes, and several of them came away with Gold Medals.
Their association lasted only slightly more than a year, then broke up when Grimm was once again struck with wanderlust and moved to Minas Gerais, where he had worked during his first stay in the country. One of his initial projects there involved painting the curtains for the opera house in Sabará.This was followed by a tour of the coffee plantations, where he painted the life and work there as well as the architectural features he had depicted earlier.
During this time, he was diagnosed with tuberculosis. In June 1887, already ravaged by the disease, he called together his friends to say goodbye. He stayed for a short time with his brother in Wengen then, following his doctor's advice, went to Merano. Then, seeking a climate that was even more favorable, he went to Palermo. He died at the hospital there and was buried nearby.

THE CORCOVADO PAINTED BY AUGUSTUS EARLE

AUGUSTUS EARLE (1793-1838)

The Corcovado or Monte Cristo  (710m - 2, 230ft) 

Brazil 

 In View on the Sugarloaf  from the summit of Corcovado mountain, near Rio, 1822

The mountain 

The Corcovado (710m - 2, 230ft) meaning "hunchback" in Portuguese, is a mountain in Rio de Janeiro, Brazil. The granite peak is located in the Tijuca Forest, a national park. It is often confused with nearby Sugarloaf Mountain. The peak of Corcovado is a big granite dome, which describes a generally vertical rocky formation. It is claimed to be the highest such formation in Brazil, the second highest being Pedra Agulha, situated near to the town of Pancas in Espírito Santo.
Corcovado hill lies just west of the city center but is wholly within the city limits and visible from great distances. It is known worldwide for the 38 metre (125 ft) statue of Jesus atop its peak, entitled Cristo Redentor or "Christ the Redeemer".
The most popular attraction of Corcovado mountain is the statue and viewing platform at its peak, drawing over 300,000 visitors per year. From the peak's platform the panoramic view includes downtown Rio, Sugarloaf Mountain, the Lagoa Rodrigo de Freitas (lake), Copacabana and Ipanema beaches, Estádio do Maracanã (Maracanã Stadium), and several of Rio's favelas. Cloud cover is common in Rio and the view from the platform is often obscured. Sunny days are recommended for optimal viewing. An additional attraction of the mountain is rock climbing. The south face had 54 climbing routes in 1992. The easiest way starts from Park Lage.
The Corcovado is also a symbol of the Brazilian culture.
Source: 
- WikiRio

The artist 
Augustus Earle was a London-born travel artist. Unlike earlier artists who worked outside Europe and were employed on voyages of exploration or worked abroad for wealthy, often aristocratic patrons, Earle was able to operate quite independently - able to combine his lust for travel with an ability to earn a living through art. The body of work he produced during his travels comprises a significant documentary record of the effects of European contact and colonisation during the early nineteenth century. From 1817 to 1832, Earle travelled trough Sicily, Malta, Gibraltar, North Africa, North Americas (New York Philadelphia), South America (Brazil, Peru, Chile), Tristan da Cunha (Antartica) the Pacific, Asia, India, Mauritius, St Helena (where he met the french emperor Napoleon in exil), New South Wales, New Zealand, Tasmania... he came back in England in 1832 ans died in London in 1838.

THE SUGAR LOAF PAINTED BY EDUARD HILDEBRANDT

EDUARD HILDEBRANDT (1818-1868) 

The Sugarloaf or Pao de Açucar (396 m - 1,299ft)

Brazil

In  A Glória, Rio de Janeiro, 1846, oil on canvas 

The mountain 

The Sugarloaf Mountain (396 m - 1,299ft) or Pao de Açucar in Portuguese, or Pain de Sucre in French, is a isolated peak situated in Rio de Janeiro, Brazil, at the mouth of Guanabara Bay on a peninsula that sticks out into the Atlantic Ocean. Rising above the harbor, its name is said to refer to its resemblance to the traditional shape of concentrated refined loaf sugar. It is known worldwide for its cableway and panoramic views of the city. The name "Sugarloaf" was coined in the 16th century by the Portuguese during the heyday of sugar cane trade in Brazil. According to historian Vieira Fazenda, blocks of sugar were placed in conical molds made of clay to be transported on ships. The shape given by these molds was similar to the peak, hence the name.

Climbing routes:

1907 – The Brazilian engineer Augusto Ferreira Ramos had the idea of linking the hills through a path in the air.

1910 – The same engineer founded the Society of Sugar Loaf and the same year the works were started. The project was commissioned in Germany and built by Brazilian workers. All parts were taken by climbing mountains or lift by steel cables.

1912 – Opening of the tram. First lift of Brazil. The first cable cars were made of coated wood and were used for 60 years.

1972 – The current template trolley was put into operation. This increased the carrying capacity by almost ten times.

2009 – Inauguration of the next generation of cable cars that had already been purchased and are on display at the base of Red Beach.

Visitors can watch rock climbers on Sugarloaf and the other two mountains in the area: Morro da Babilônia (Babylon Mountain), and Morro da Urca (Urca's Mountain). Together, they form one of the largest urban climbing areas in the world, with more than 270 routes, between 1 and 10 pitches long.

Source :
- Sugarloaf Official Website

The painter
Eduard Hildebrandt was a German landscape painter.  He was not twenty when he moved to Berlin, where his teacher was Wilhelm Krause, a painter of sea pieces. In 1842, he went to Paris, entered the atelier of the famous painter Isabey and became the companion of Lepoittevin. In a short time he sent home pictures which might have been taken for copies from these artists. Gradually he mastered the mysteries of touch and the secrets of effect in which the French  excelled.
After 1843 Hildebrandt, under the influence of Humboldt, extended his travels, and in 1864-1865 he went round the world. Whilst his experience became enlarged his powers of concentration broke down. He lost the taste for detail in seeking for scenic breadth. He gradually produced less oil paintings but more water colours, many of them represented by chromolithography. Fantasies in red, yellow and opal, sunset, sunrise and moonshine, distances of hundreds of miles like those of the Andes and the Himalaya, narrow streets in the bazaars of Cairo or Suez, panoramas as seen from mast-heads, wide cities like Bombay or Pekin, narrow strips of desert with measure-less expanses of sky all alike display his quality of bravura.

THE SUGARLOAF PAINTED BY N.A.TAUNAY

NICOLAS-ANTOINE TAUNAY (1755-1830) 

Sugarloaf Mountain or Pao de Açucar (396 m - 1299ft)

Brazil

In  Le mont du Pain de Sucre vu du Couvent Saint-Antoine, 1816, oil on canvas 

The moutain
Sugarloaf Mountain (396 m - 1299ft), Pao de Açucar in Portuguese, Pain de Sucre in French,  is a isolated peak (Inselberg) situated in Rio de Janeiro, Brazil, at the mouth of Guanabara Bay on a peninsula that sticks out into the Atlantic Ocean. Rising above the harbor, its name is said to refer to its resemblance to the traditional shape of concentrated refined loaf sugar. It is known worldwide for its cableway and panoramic views of the city. The name "Sugarloaf" was coined in the 16th century by the Portuguese during the heyday of sugar cane trade in Brazil. According to historian Vieira Fazenda, blocks of sugar were placed in conical molds made of clay to be transported on ships. The shape given by these molds was similar to the peak, hence the name.
Climbing routes:
1907 – The Brazilian engineer Augusto Ferreira Ramos had the idea of linking the hills through a path in the air.
1910 – The same engineer founded the Society of Sugar Loaf and the same year the works were started. The project was commissioned in Germany and built by Brazilian workers. All parts were taken by climbing mountains or lift by steel cables.
1912 – Opening of the tram. First lift of Brazil. The first cable cars were made of coated wood and were used for 60 years.
1972 – The current template trolley was put into operation. This increased the carrying capacity by almost ten times.
2009 – Inauguration of the next generation of cable cars that had already been purchased and are on display at the base of Red Beach.
Visitors can watch rock climbers on Sugarloaf and the other two mountains in the area: Morro da Babilônia (Babylon Mountain), and Morro da Urca (Urca's Mountain). Together, they form one of the largest urban climbing areas in the world, with more than 270 routes, between 1 and 10 pitches long.
Source :
- Sugarloaf Official Website

The painter 
Nicolas-Antoine Taunay (1755-1830) was a French painter. He joined the french Academy of Fine Arts in 1795, after having studied painting in 1768 with Nicolas Bernard Lépicié then with Nicolas-Guy Brenet and Francesco Casanova.  In 1805, he was chosen, along with other painters, to represent Napoleon's campaigns in Germany. At the fall of the Emperor, Taunay participated to an artistic mission organized by the Count of Barca,  very influent minister of the regent Don Joao, the future John VI of Portugal. Taunay embarked in 1816 with his family to Brazil as a member of the French artistic mission. He arrived in Rio de Janeiro in 1816, painted the picture above and  became a pensioner painter of the kingdom.  He joined the group of painters who founded the Brazilian Royal Academy of Fine Arts and in 1820 was appointed professor at the Academy and gets the chair of landscape painting. The following year, in disagreement with the Portuguese painter José Henrique da Silva who was appointed head of the Royal Academy of Fine Arts, he returned to France.
His son Felix Taunay became professor of landscape painting, and later director of the Imperial Academy of Fine Arts. Adrien Taunay, his younger son, accompanied, as designer, shipments of Freycinet and Langsdorff.