MONS HADLEY SEEN BY NASA APOLLO 15 MISSION

NASA APOLLO 15 MISSION (July, 26, 1971- August  7, 1971)

Mons Hadley (4,600m -15,091ft) 

The Moon 

1.  Jim Irwin, the Lunar Rover from Apollo 15 and Mons Hadley in the background 

2. Mons Hadley photographed from Apollo 15 before landing July 30, 1971, 22:16:29

3. Mons Hadley ©The Lunar Institute Map. 

The mountain

Mons Hadley (4,600m -15,091ft ) is  the second highest mountain on the Moon, the first being Mons Huyghens (5, 500m - 18,044ft.  Mons Hadley is a massif in the northern portion of the Montes Apenninus, a range in the northern hemisphere of the Moon. The selenographic coordinates of this peak are  26.5° N, 4.7° E. It has a maximum diameter of 25 km at the base.

To the southwest of this mountain is a valley that served as the landing site for the Apollo 15 expedition. To the southwest of this same valley is the slightly smaller Mons Hadley Delta (δ) peak with a height of about 3.5 km. The coordinates of this peak are 25.8° N, 3.8° E. To the west of these peaks is the sinuous Rima Hadley rille where the Fallen Astronaut memorial has been placed in memory of those astronauts who died in the advancement of space exploration.

These features were named after John Hadley.

This sinuous lunar rille follows a course generally to the northeast, toward the Mons Hadley peak, for which it is named. This feature is centered at selenographic coordinates 25.0° N, 3.0° E, and lies within a diameter of 80 km. It begins at the crater Béla, an elongated formation with the long axis oriented to the northwest.  

Sources: 

- Lunar and Planetary Institute

The mission 

Apollo 15 was the ninth manned mission in the United States' Apollo program, the fourth to land on the Moon, and the eighth successful manned mission. It was the first of what were termed 

"J missions", long stays on the Moon, with a greater focus on science than had been possible on previous missions. It was also the first mission on which the Lunar Roving Vehicle was used.

The mission began on July 26, 1971, and ended on August 7. At the time, NASA called it the most successful manned flight ever achieved.

Commander David Scott and Lunar Module Pilot James Irwin spent three days on the Moon, including 18Ѕ hours outside the spacecraft on lunar extra-vehicular activity (EVA). The mission landed near Hadley rille, in an area of the Mare Imbrium called Palus Putredinus (Marsh of Decay). The crew explored the area using the first lunar rover, which allowed them to travel much farther from the Lunar Module (LM) than had been possible on missions without the rover. They collected 77 kilograms (170 lb) of lunar surface material. At the same time, Command Module Pilot Alfred Worden orbited the Moon, using a Scientific Instrument Module (SIM) in the Service Module (SM) to study the lunar surface and environment in great detail with a panoramic camera, a gamma-ray spectrometer, a mapping camera, a laser altimeter, a mass spectrometer, and a lunar sub-satellite deployed at the end of Apollo 15's stay in lunar orbit (an Apollo program first).

The mission successfully accomplished its objectives. Ironically, this mission was one of very few that had been honored with the issue of a commemorative US stamp, with this first use of a lunar rover happening one decade after the first Mercury astronaut launch.

Sources:

- Apollo 15 on Encyclopedia Astronautica

FUJIYAMA / 富士山(n° 33 b) PAINTED BY HOKUSAÏ

KATSUSHIKA HOKUSAÏ (1760-1849) 

Fujiyama / 富士山  (3,776.24 m -12,389 ft)
Japan 

South Breeeze, Fine Weather (1830-35), early print, n° 33 from the series 36 Views of Mt. Fuji

 University of Wisconsin Madison

About the 36 views of Mount Fuji 

Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjūrokkei) is a series of landscape prints　created by the Japanese ukiyo-e artist Hokusai (1760?1849). The series depicts Mount Fuji from different locations and in various seasons and weather conditions. The original thirty-six prints were so popular that Hokusai expanded the series by ten. 

The earliest impressions appear faded when compared to the versions usually seen, but are closer to Hokusai's original conception. The original prints have a deliberately uneven blue sky, which increases the sky's brightness and gives movement to the clouds. The peak is brought forward with a halo of Prussian blue. Subsequent prints have a strong, even blue tone and the printer added a new block, overprinting the white clouds on the horizon with light blue. Later prints also typically employ a strong benigara (Bengal red) pigment, which lent the painting its common name of Red Fuji. The green block colour was recut, lowering the meeting point between forest and mountain slope.

The artist
Katsushika Hokusai (葛飾 北斎)  was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He was influenced by such painters as Sesshu, and other styles of Chinese painting. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 c. 1831) which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s.
Hokusai created the "Thirty-Six Views of Mt Fuji " both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. In this series, Mt Fuji is painted on different meteorological conditions, in different hours of the days, in different seasons and from different places.

The mountain 
This is the legendary Mount Fuji or Fujiyama (富士山).
It is located on Honshu Island and is the highest mountain peak in Japan at 3,776.24 m (12,389 ft). Several names are attributed to it:  "Fuji-san", "Fujiyama" or, redundantly, "Mt. Fujiyama". Usually Japanese speakers refer to the mountain as "Fuji-san".  The other Japanese names for Mount Fuji,  have become obsolete or poetic like: Fuji-no-Yama (ふじの山 - The Mountain of Fuji), Fuji-no-Takane (ふじの高嶺- The High Peak of Fuji), Fuyō-hō (芙蓉峰 - The Lotus Peak), and Fugaku (富岳／富嶽), created by combining the first character of 富士, Fuji, and 岳, mountain.
Mount Fuji is an active stratovolcano that last erupted in 1707–08. Mount Fuji lies about 100 kilometres (60 mi) south-west of Tokyo, and can be seen from there on a clear day.
Mount Fuji's exceptionally symmetrical cone, which is snow-capped several months a year, is a well-known symbol of Japan and it is frequently depicted in art and photographs, as well as visited by sightseers and climbers.
Mount Fuji is one of Japan's Three Holy Mountains (三霊山) along with Mount Tate and Mount Haku. It is also a Special Place of Scenic Beauty and one of Japan's Historic Sites.
It was added to the World Heritage List as a Cultural Site on June 22, 2013. As per UNESCO, Mount Fuji has “inspired artists and poets and been the object of pilgrimage for centuries”. UNESCO recognizes 25 sites of cultural interest within the Mt. Fuji locality. These 25 locations include the mountain itself, Fujisan Hongū Sengen Shrine and six other Sengen shrines, two lodging houses, Lake Yamanaka, Lake Kawaguchi, the eight Oshino Hakkai hot springs, two lava tree molds, the remains of the Fuji-kō cult in the Hitoana cave, Shiraito Falls, and Miho no Matsubara pine tree grove; while on the low alps of Mount Fuji lies the Taisekiji temple complex, where the central base headquarters of Nichiren Shoshu Buddhism is located.

PARINACOTA PAINTED BY RAMOS CATALAN

RAMOS CATALAN (1888-1961)

 Parinacota  (6,348 m - 20,827ft)
Chile - Bolivia

From the series " Mountains of Chile" possibly volcano Parinacota seen from the south 

The Mountain 

Parinacota (6,348 m- 20,827ft) or Parina Quta or Parinaquta is a massive dormant stratovolcano on the border of Chile and Bolivia. Cerros de Payachata, means twin mountains and there are only two peaks in the range. It is usually counted as a sub-range in the Cordillera Occidental. Parinacota is slightly higher than its twin brother/sister Pomerape (6,282m). Both volcanoes are right on the Chilean - Bolivian border and can be climbed from either side. Their closest neighbor is Bolivia's highest mountain Sajama (6,542m) which isn't more than 20km away. Parinacota is located in the extreme NE of Chile, where the country borders to Bolivia. The closest really large city is La Paz, the capital of Bolivia, which is about 300km and five hours away. Arica, in Chile is at the Pacific coast and is about 180 km far (and almost 5000 vertical meters!).

It is part of the Payachata volcanic group. The other major edifice in that group is the Pleistocene peak of Pomerape.  Parinacota's last eruptive phase has been dated using the helium surface exposure technique, which ties the eruption to 290AD ± 300 years.

One of the most dramatic eruptive events in the volcano's past was 8,000 years ago, when a major collapse of the edifice produced a 6 kmі (1.44 cubic miles) debris avalanche, which blocked nearby drainage patterns, creating Chungara Lake.

The volcano and Pomerape straddle the border between Sajama National Park (Bolivia) and Lauca National Park (Chile).

Climbing

Parinacota was first climbed in 1928 by Joseph Prem and Carlos Terán.

Climbing the volcano is  alpine F grade, on a snow/rubble slope of about 35 degrees. A camp can be established at 5,300 m at the saddle between Parinacota and Pomerape. Depending on the season, the main difficulty can be a snow formation called penitentes which make the ascent physically difficult or impossible. It is attempted by about one party per week in the season. If needed, guides and transport can be hired from Sajama village, 27 km away on the Bolivian side of the mountain.

The main climbing season is from late June to mid September. This is the winter season of the southern hemisphere. It's also the time with the lowest precipitation and most stable weather. Between May and September there's almost no risk of any rain or snow at all. 

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, particularly 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.

2016 - WanderingVertexes
Un blog de Francis Rousseau

THE EIGER PAINTED BY MAXIMILIEN DE MEURON

MAXIMILIEN DE MEURON (1785-1868)

The Eiger (3,970 m -13,020 ft)

Switzerland

1. In Eiger, oil on canvas Musée d'art et d'histoire de Neuchâtel 
2. In Eiger, watercolour

The mountain 

The Eiger (3,970m- 13,020 ft)  is located in the  Bernese Alps, overlooking Grindelwald and Lauterbrunnen in the Bernese Oberland, just north of the main watershed and border with Valais. It is the easternmost peak of a ridge crest that extends across the Mцnch to the Jungfrau at (4,158 m-13,642 ft), constituting one of the most emblematic sights of the Swiss Alps. While the northern side of the mountain rises more than 3,000m -10,000 ft above the two valleys of Grindelwald and Lauterbrunnen, the southern side faces the large glaciers of the Jungfrau-Aletsch area, the most glaciated region in the Alps. The most notable feature of the Eiger is its 1,800-metre-high - 5,900 ft north face of rock and ice, named Eigerwand or Nordwand, which is the biggest north face in the Alps. This huge face towers over the resort of Kleine Scheidegg at its base, on the homonymous pass connecting the two valleys.

The first ascent of the Eiger was made by Swiss guides Christian Almer and Peter Bohren and Irishman Charles Barrington, who climbed the west flank on August 11, 1858. 

The north face, considered amongst the most challenging and dangerous ascents, was first climbed in 1938 by an Austrian-German expedition with Anderl Heckmair, Ludwig Vцrg, Heinrich Harrer and Fritz Kasparek. The Eiger has been highly-publicized for the many tragedies involving climbing expeditions.  

In 1973 : first all female ascent of the face by Wanda Rutkiewicz, Danuta Gellner-Wach and Stefania Egierszdorff. All Polish.

In June 2006, François Bon and Antoine Montant make the first speedflying descent of the Eiger

Since 1935, at least sixty-four climbers have died attempting the north face, earning it the German nickname Mordwand, literally "murder(ous) wall"—a pun on its correct title of Nordwand (North Wall).

Although the summit of the Eiger can be reached by experienced climbers only, a railway tunnel runs inside the mountain, and two internal stations provide easy access to viewing-windows carved into the rock face. They are both part of the Jungfrau Railway line, running from Kleine Scheidegg to the Jungfraujoch, between the Mцnch and the Jungfrau, at the highest railway station in Europe. The two stations within the Eiger are Eigerwand (behind the north face) and Eismeer (behind the south face), at around 3,000 metres.

The Eiger is mentioned in records dating back to the 13th century, but there is no clear indication of how exactly the peak gained its name. The three mountains of the ridge are commonly referred to as the Virgin (German: Jungfrau – translates to "virgin" or "maiden"), the Monk (Mцnch), and the Ogre (Eiger; the standard German word for ogre is Oger). The name has been linked to the Latin term acer, meaning "sharp" or "pointed", but more commonly to the German eigen, meaning "own".

The painter 

 Maximilien de Meuron is a Swiss painter, born in the castle of Corcelles (Canton of Vaud) in 1785. Born into an aristocratic family, he studied law in Berlin. He then devoted himself to painting landscapes. He trained in Paris and Italy, making outdoor sketches he transcribed on canvas in his studio. He served on the Grand Council of Neuchâtel and contributed to the artistic development of the city. He founded the  Société des Amis des Arts (The Friends of Arts Society).

The State Archives of Neuchâtel retain  thousands of documents about him , mostly his correspondence. These documents provide information about the abundant intellectual and artistic life in Neuchâtel and the Meuron family. The inventory of the fund is available online.

Source

-  Swiss Institute for Art Research

RAS DASHAN PHOTOGRAPHED BY ISS ASTRONAUTS CREW

ISS ASTRONAUTS (EXPEDITION 16)

Ras Dashan  (4,550m- 14,928 ft)

Ethiopia

Courtesy: NASA /ESA/Jet Propulsion Laboratory/Caltech

The mountain 

Ras Dashan (4,550m-14,928 ft) alternatively  Ras Dejen rās dejen or rās dashen, meaning "head guard" in Amharic, is the highest mountain in Ethiopia and tenth highest mountain of Africa. Part of Simien Mountains National Park ans Simien Range, located in the Gondar, Amhara Region, the more common form of name, "Ras Dashan" is a corruption of its Amharic name, "Ras Dejen", used by the system of the Ethiopian Mapping Authority (EMA) which means "the general who fights in front of the Emperor".

According to Erik Nilsson, Ras Dejen is the eastern peak of the rim of "an enormous volcano, the northern half of which is cut down about [a] thousand metres by numerous ravines, draining into the Takkazzi River." Its western counterpart is Mount Biuat (4,510 meters), separated by the valley of the Meshaha river. The mountain is often place to violent snowfalls during the night, but, since daily and night temperatures vary greatly, the snow is almost completely melted in a few hours (during the hottest period of the year) since temperature may be over 5° celsius by midday. In winter snow falls rarely, since the majority of yearly rainfalls in Ethiopia are in the summer, but if it does it usually lasts for weeks or months.

The first recorded ascent by a Eurasian was in 1841, by the French officers Ferret and Galinier. There is no verifiable evidence of earlier ascents by locals, but the summit climate and conditions are relatively hospitable, and there are nearby high altitude pastoral settlements. A small fort still partially standing at around 4,300 Meter SRTM data.

The Semien Mountains are the highest parts of the Ethiopian Plateau (more than 2,000m -6,560 ft). They are surrounded by a steep, ragged escarpment (step), with dramatic vertical cliffs, pinnacles, and rock spires. Included in the range is the highest point in Ethiopia, Ras Dashen at 4,533m -14,926 ft). The plateau and surrounding areas are made up of basalt rock from massive, flood-like eruptions of lava; these flood basalts are probably more than 3,000 meters thick.

The lavas erupted quickly (in about one million years) 31 million years ago, as the tectonic plate carrying Ethiopia passed above what is known as the Afar hotspot, a localized spot of intense heat or magma production that is not at a tectonic plate boundary. As the tectonic plate passed over the hotspot, the general region of Ethiopia rose in elevation. The uplift encouraged the erosion that cut the highly dramatic canyons that ring the plateau.

Although the plateau lies in the latitude of the Sahara–Arabia deserts, its high altitude makes for a cool, wet climate. In fact, the Semien Mountains are one of the few places in Africa to regularly receive snow, and they receive plentiful rainfall (more than 1,280 millimeters - 55 inches). The moderate climate is shown by light green vegetation on the mountains, compared with the brown canyons, which are hot and dry. The green tinge on the biggest escarpment (trending across the bottom third of the image) is also vegetation, showing that this part of the escarpment also receives more rain than other parts of the escarpment wall. A major canyon cuts the flatter plateau surface (image center), with several more surrounding the plateau. These canyons are hot because they reach low altitudes, more than 2,000 meters below the plateau surface.

The Semien Mountains National Park has been declared a World Heritage Site by the United Nations Educational, Scientific and Cultural Organization for its rugged beauty. In addition, several extremely rare species are found here, such as the Gelada baboon, which has a thick coat to protect against the cold; the critically endangered Walia ibex, which has long, heavy scimitar-like horns; and the Ethiopian wolf, also known as the Semien jackal, which is one of the rarest, and perhaps most endangered canid on Earth.

Source: 
- NASA

The photographer 

This astronaut photograph ISS016-E-10784 was acquired on November 16, 2007, with a Kodak 760C digital camera fitted with a 180 mm lens, and is provided by the ISS Crew Earth Observations experiment. The image was taken by the astronauts crew of the Expedition 16 , and it is provided by the Image Science & Analysis Laboratory, Johnson Space Center. The image in this article has been cropped and enhanced to improve contrast. Lens artifacts have been removed. The International Space Station Program supports the laboratory to help astronauts take pictures of Earth that will be of the greatest value to scientists and the public, and to make those images freely available on the Internet. Additional images taken by astronauts and cosmonauts can be viewed at the NASA/JSC Gateway to Astronaut Photography of the Earth. Caption by M. Caption by M. Justin Wilkinson, NASA-JSC.

THE BREITHORN PAINTED BY BLANCHE BERTHOUD

BLANCHE BERTHOUD (1864 -1938) 

The Breithorn (4,165 m -13,664 ft)

Switzerland - Italy border

3 views in 1899 (oil on canvas) , 1906 (oil on canvas),

The mountain 

The Breithorn  (4,165 m -13,664 ft)  - which means "broad horn" in german - is a mountain range of the Pennine Alps as well as its highest peak (also called Breithorn Western Summit). The Breithorn is located on the border between Switzerland and Italy. It lies on the main chain of the Alps, approximately halfway between the Matterhorn and Monte Rosa and east of the Theodul Pass. Most of the massif is glaciated and includes several subsidiary peaks, all located east of the main summit: the Western summit (4, 165m), the Middle summit (4,159m),  the Eastern Breithorn-twin also called The Gendarm (4,106m), the Roccia Nera (Schwarzfluh) (4,075m). The main summit is sometimes distinguished by the name Western Breithorn (German: Breithorn (Westgipfel), Italian: Breithorn Occidentale). The nearest settlements are Zermatt (Valais) and St-Jacques (Aosta Valley).

Climbing 

The Breithorn was first climbed in 1813 by Henry Maynard (climber), Joseph-Marie Couttet, Jean Gras, Jean-Baptiste Erin and Jean-Jacques Erin.  East Breithorn was first climbed 16 August 1884 by J.Stafford Anderson. Central Breithorn was first climbed  19 July 1900 by E. Hahn.

Nowadays, the Breithorn is considered the most easily climbed 4,000 m Alpine peak. This is due to the Klein Matterhorn cable car which takes climbers to over 3,820 m (12,700 ft) from Zermatt for a starting point. The standard route (SSW flank) is from the Italian side of the mountain (the south side) and continues over a glacial plateau before climbing to the summit on a 35 degree snow slope. However, inexperienced mountaineers may run into severe difficulty if caution is not taken near cornices or in bad weather. For experienced climbers wanting more of a challenge, the half traverse of the Breithorn crest is another option.

The painter 

Blanche Berthoud was a Swiss painter from the region Neufchatel (Switzerland) who was very active throughout the first half of the 20th century. She was part of the  Société romande des femmes peintres  (Romande Society of Women Painter) founded  by the painter Jeanne Lombard (1865-1945) who defended very fiercely mountain women painters, a world often reserved for men. She made several paintings and watercolors of the Breithorn, one of which was acquired by the Museum of Art and History of Neufchatel.

2016 - Wandering Vertexes...
by Francis Rousseau 

MOUNT STANLEY BY VITTORIO SELLA

VITTORIO SELLA  (1859-1943) 

Mount Stanley (5,109 m -16,762 ft)

Uganda - Congo border

photographed in 1906 during the Duke of Abruzzi expedition

The mountain 

Mount Stanley  (5,109 m -16,762 ft) is located in the Rwenzori range and is the highest mountain of both the Democratic Republic of the Congo and Uganda, and the third highest in Africa, after Mount Kilimanjaro (5,895 m -19,340ft) and Mount Kenya (5,199 m - 17,057ft). The peak and several other surrounding peaks are high enough to support glaciers. Mount Stanley is named for the journalist and explorer, Sir Henry Morton Stanley. It is part of the Rwenzori Mountains National Park, a UNESCO world Heritage Site. 

Mt. Stanley consists of two twin summits and several lower peaks which are : 

Margherita Peak (5,109m - 16,763ft), Alexandra Peak (5,091m - 16,703ft), Albert Peak (5,087m - 16,690ft), Savoia Peak (4,977m - 16,330ft), Ellena Peak (4,968m -16,300ft), Elizabeth Peak (4,929m - 16,170 ft), Phillip Peak (4,920m - 16,140ft), Moebius Peak (4,916m - 16,130 ft) and Great Tooth (4,603m - 15,100ft).

Mt. Stanley was first climbed in 1906 by the Prince Luigi Amedeo di Savoia , Duke of the Abruzzi, (1873-1933), J. Petigax, C. Ollier, and J. Brocherel. He is known as well for his Arctic explorations and for his mountaineering expeditions, particularly to Mount Saint Elias (Alaska–Yukon) and K2 (Pakistan–China). Margherita Peak is named after Queen Margherita of Italy the prince's cousin.

The Rwenzori Mountains National Park is considered a model for integration of cultural values into the Protected Area Management framework as an innovative approach to resource management, the first of its kind in Africa.  As a result the local communities have embraced collaborative resource management initiatives. Given its significance as one of the biodiversity hotspots in the Albertine Rift, various local and international NGOs have supported the management and conservation of the property. A General Management Plan guides management operations on-site. Key challenges to address include illegal felling of trees, snow recession due to global warming, human population pressure adjacent to the property and management of waste generated through tourism operations. UWA is addressing the above threats through resource protection, community conservation education, research and ranger-based monitoring, ecotourism and transboundary initiatives with the DRC. The long-term maintenance of the integrity of the property will be achieved through sustainable financing, ecological monitoring, continued collaboration with key stakeholders andregional cooperation.

Climbing

The Bujuku valley is enclosed within a steep triangle formed by Mount Stanley and Mounts Speke and Baker, the second and third highest Ruwenzori peaks respectively. The worst part about climbing in the Ruwenzori is the approach, as four days of jungle and bogs guard the mountains on both the Zaire and Uganda sides. There are, however, good trails in the mountains, and plenty of huts for overnight. From Mutsori, Zaire, local tribesman are available as guides or porters.

Sources: 

- Peakware- World Mountain Encyclopedia

- UNESCO world Heritage Site

The artist
Vittorio Sella is a mountain italian climber and photographer who took his passion for mountains from his uncle, Quintino Sella, founder of the Italian Alpine Club.  He accomplished many remarkable climbs in the Alps, the first wintering in the Matterhorn and Mount Rose (1882) and the first winter crossing of Mont Blanc (1888).
He took part in various expeditions outside Italy:
- Three in the Caucasus in 1889, 1890 and 1896 where a summit still bears his name;
- The ascent of Mount Saint Elias in Alaska in 1897;
- Sikkim and Nepal in 1899;
- Possibly climb Mount Stanley in Uganda in 1906 during an expedition to the Rwenzori;
- Recognition at  K2   in 1909;
- In Morocco in 1925.
During expeditions in Alaska, Uganda and Karakoram (K2), he accompanied the Duke of Abruzzi, Prince Luigi Amedeo di Savoia.
Sella continues the practice of climbing into his old age, completing his final attempt in the Matterhorn at the age of 76; a climb he had to interrupt the rise following an accident in which one of his guides injured. He died in his hometown during World War II.  His photographic collection is now managed by the Sella Foundation.
His photos mountain are still  considered today to be among the finest ever made.
Jim Curran believes that "Sella remains probably the greatest photographer of the mountain.  His name is synonymous with technical perfection and aesthetic refinement. "
The quality of the pictures of Vittorio Sella is partly explained by the use of a view camera 30 × 40 cm, despite the difficulty of the transportation of such a device, both heavy and fragile in places inaccessible; to be able to transport it safely, he had to make special pieces that can be stored in saddle bags.  His photographs have been widely distributed, either through the press or in the galleries, and were unanimously celebrated; Ansel Adams, who was able to admire thirty-one in an exhibition that was organized at Sella American Sierra Club, said they inspired him "a religious kind of sense of wonder."  Many of his pictures were taken in the mountains for the very first time in the History, which give them a much artistic, historical  but also scientific value ; for example, one could measure the decline in the Rwenzori glaciers in Central Africa.
Source:
 -  The Georgian Museum of Photography

MOUNT PINATUBO PAINTED BY FERNANDO AMORSOLO

FERNANDO AMORSOLO (1882-1972)

Mount Pinatubo or Bundok Pinatubo 
(1,745 m - 5,725 ft before 1991 eruption) (1, 486 m - 4,875 ft current)
Philippines

Painted before the 1938 eruption

The mountain 

Mount Pinatubo  (1,745 m - 5,725 ft before 1991 eruption reduced to 1, 486m- 4,875ft nowadays) also called Bundok Pinatubo or Bulkang Pinatubo in Philippino is an active stratovolcano in the Cabusilan Mountains on the island of Luzon, near the tripoint of the Philippine provinces of Zambales, Tarlac and Pampanga. Its eruptive history was unknown to most before the volcanic activities of 1991. Pinatubo was heavily eroded, inconspicuous, and obscured from view. It was covered with dense forest which supported a population of several thousand indigenous Aetas people.
The volcano's Plinian / Ultra-Plinian eruption on June 15, 1991 produced the second largest terrestrial eruption of the 20th century after the 1912 eruption of Novarupta in the Alaska Peninsula. Complicating the eruption was the arrival of Typhoon Yunya (Diding), bringing a lethal mix of ash and rain to areas surrounding the volcano. Predictions at the onset of the climactic eruption led to the evacuation of tens of thousands of people from the surrounding areas, saving many lives. Surrounding areas were severely damaged by pyroclastic flows, ash deposits, and, subsequently, by the lahars caused by rainwaters re-mobilizing earlier volcanic deposits. This caused extensive destruction to infrastructure and changed river systems for years after the eruption.
The effects of the eruption were felt worldwide. It injected more particulate into the stratosphere than any eruption since Krakatoa in 1883. Over the following months, the aerosols formed a global layer of sulfuric acid haze.  Global temperatures dropped by about 0.5 °C (0.9 °F) in the years 1991-93, and ozone depletion temporarily increased substantially.

Source:

- Wikipedia 

The painter 

Fernando Cueto Amorsolo was one of the most important artists in the history of painting in the Philippines.Amorsolo was a portraitist and painter of rural Philippine landscapes. He is popularly known for his craftsmanship and mastery in the use of light. After graduating from the Univeajor influences on his work. Amorsolo set up his own studio upon his return to Manila and painted prodigiously during the 1920s and the 1930s. His Rice Planting (1922), which appeared on posters and tourist brochures, became one of the most popular images of the Commonwealth of the Philippines. Beginning in the 1930s, Amorsolo's work was exhibited widely both in the Philippines and abroad. His bright,optimistic, pastoral images set the tone for Philippine painting before World War II . Except for his darker World War II-era paintings, Amorsolo painted quiet and peaceful scenes throughout his career.

Amorsolo was sought after by influential Filipinos including Luis Araneta, Antonio Araneta and Jorge B. Vargas. Amorsolo also became the favourite Philippine artist of United States officials and visitors to the country. Due to his popularity, Amorsolo had to resort to photographing his works and pasted and mounted them in an album. Prospective patrons could then choose from this catalog of his works. Amorsolo did not create exact replicas of his trademark themes; he recreated the paintings by varying some elements.

His works later appeared on the cover and pages of children textbooks, in novels, in commercial designs, in cartoons and illustrations for the Philippine publications such The Independent, Philippine Magazine, Telembang, El Renacimiento Filipino, and Excelsior. He was the director of the University of the Philippine's College of Fine Arts from 1938 to 1952.

During the 1950s until his death in 1972, Amorsolo averaged to finishing 10 paintings a month. However, during his later years, diabetes, cataracts, arthritis, headaches, dizziness and the death of two sons affected the execution of his works. Amorsolo underwent a cataract operation when he was 70 years old, a surgery that did not impede him from drawing and painting.

After being confined at the St. Luke's Hospital in Quezon City for two months, Amorsolo died  at the age of 79 on April 24, 1972. The volume of paintings, sketches and studies of Amorsolo is believed to have reached more than 10,000 pieces. Amorsolo was an important influence on contemporary Filipino art and artists, even beyond the so-called "Amorsolo school." Amorsolo's influence can be seen in many landscape paintings by Filipino artists, including early landscape paintings by abstract painter Federico Aguilar Alcuaz.

In 2003, Amorsolo's children founded the Fernando C. Amorsolo Art Foundation, which is dedicated to preserving Fernando Amorsolo's legacy, promoting his style and vision, and preserving a national heritage through the conservation and promotion of his works.

Sources

 - Fernando Amorsolo foundation web site 

2016 - Wandering Vertexes...

by Francis Rousseau 

VICTORIA PEAK (HK) BY CHRISTOPHER JAMES WARD

CHRISTOPHER JAMES WARD  (bn. 1968) 

Victoria Peak (552m-1,811ft) 

 China (Hong-Kong) 

Victoria Peak as it was in 1858,  oil on canvas, Private coll. 

The mountain 

Victoria Peak  (552m -1,811ft)  or 太平山  (in Chinese) also locally called The Peak or Mount Austin an sa few others cantonese and Hong Kong Hakka names such as Taai Pen Saa or Deng or

Saan Deng or Ce Kei Saan or Lou Fung... is a mountain in the western half of Hong Kong Island. It is the highest mountain on Hong Kong island, ranked 31 in terms of elevation in the Hong Kong Special Administrative Region ; Tai Mo Shan  (957m) being  the highest point in the Hong Kong Special Administrative Region.The summit is occupied by a radio telecommunications facility and is closed to the public. However, the surrounding area of public parks and high-value residential land is the area that is normally meant by the name The Peak. During the19th century, the Peak attracted prominent European residents because of its panoramic view over the city and its relatively temperate climate compared to the sub-tropical climate in the rest of Hong Kong. The sixth Governor of Hong Kong, Sir Richard MacDonnell had a summer residence built on the Peak circa 1868. Those that built houses named them whimsically, such as The Eyrie, and the Austin Arm. These original residents reached their homes by sedan chairs, which were carried up and down the steep slope of Victoria Peak. This limited development of the Peak until the opening of the Peak Tram funicular in 1888.

The boost to accessibility caused by the opening of the Peak Tram created demand for residences on the Peak. Between 1904 and 1930, the Peak Reservation Ordinance designated the Peak as an exclusive residential area reserved for non-Chinese. They also reserved the Peak Tram for the use of such passengers during peak periods. The Peak remains an upmarket residential area, although residency today is based on wealth. The Peak is home to many species of birds, most prominently the black kite, and numerous species of butterflies.

With some seven million visitors every year, the Peak is a major tourist attraction of Hong Kong. It offers spectacular views of the city and its waterfront. The viewing deck also has coin-operated telescopes that the visitors can use to enjoy the cityscape. The number of visitors led to the construction of two major leisure and shopping centres, the Peak Tower and the Peak Galleria, situated adjacent to each other.

Victoria Peak Garden is located on the site of Mountain Lodge, the Governor's old summer residence, and is the closest publicly accessible point to the summit. It can be reached from Victoria Gap by walking up ,,, a climb of about 150 m - 490 ft. Another popular walk is the level loop along Lugard Road, giving good views of Hong Kong's Central district and Kowloon, and then returning via Harlech Road, encircling the summit at the level of the Peak Tower. In addition to being a major tourist attraction for Hong Kong, The Peak is also the summit of Hong Kong's property market.

Source: 

 - Wikipedia  

The painter 

Christopher James Ward, born in New Castle, New Hampshire on October 17, 1968, is an American landscape and maritime painter. Ward is best known for the rich luminosity and detail of his work, and as M. Melissa Wolfe, a curator at the Columbus Museum of Art, writes, “Ward’s contribution to this genre is fresh and original, as equally enlivened by the boldness of a personal vision as it is unencumbered by expressions of indebtedness.”

Dually, art and the sea have been formative elements in Ward’s development. The summers that Ward spent in Cape Split, Maine were accompanied by the artistic pursuits of his mother, who was a local portrait painter following her studies at the School of the Museum of Fine Arts in Boston. Among his peers, Ward chose a path separate from that of standard academic training and at the age of seventeen he followed his instincts to pursue his craft through nature and experience. This confidence in personal vision and independent integrity contributed to the development of Ward’s memorable and unmistakable artistic ‘signature’ and remain at the forefront of his work today.

Ward’s paintings resonate his own independence through concept and method while simultaneously paying tribute to the maritime tradition he continues. Whereas dated merchant records, archived architectural documents, old photographs, and historic maps provide an exciting initial vision for Ward, it is his own experiences, feelings, and imagination of the locations and subjects that articulate the paintings from start to finish. “His works share an affinity with those artists who felt a deep sympathy for a specific place. Even more important, these artists are able to transfer onto canvas their understanding of the mystery, of the intangible powers, that drive the elemental world of these locations,” writes M. Melissa Wolfe.

Ward captures his initial perspective on a location through his comprehensive painting method. Often he begins onsite, creating oil sketches to preserve both the natural atmosphere and mood of the place. Once completing the sketches, he turns to archival maps and historical documentation to create a finished drawing and begin the actual composition. The finished painting will maintain the freshness of his original inspiration while presenting a many layered, meticulously detailed piece of maritime history. The works embody Ward’s simple desire to “create a power that viewers can connect with… to put myself into my paintings.”

Currently, Ward splits his time between New Hampshire and the Washington, DC area with occasional travels to Alaska, London, and France. Although with the vast beauty that North America provides, Ward has elected in recent years to remain stateside and concentrate on the Eastern seaboard. As a twelfth generation native of New Castle, New Hampshire, Ward’s commitment to preserving the beauty of the East Coast runs deep; he is an active outdoorsman as well as a New Hampshire wilderness guide.

Source

- Christopher James Ward Website 

MOUNT MERU PAINTED BY ROBERT. MC LELLAN-SIM

ROBERT LEWIS MC LELLAN-SIM ( 1907-1985)

Mount Meru  (4,562 m - 14,968 ft)

Tanzania

The mountain 

Mount Meru (4,562 m - 14,968 ft) - not to be confused with Meru peak in Indian Hymalayas -  is a dormant stratovolcano located 70 kilometres (43 mi) west of Mount Kilimanjaro in Tanzania.  
Mount Meru is visible from Mount Kilimanjaro on a clear day, and is the fifth highest mountain in Africa. Much of its bulk was lost about 7,800 years ago due to an eastward volcanic blast. Other eruptions certainly occurred after this gigantic eruption but they are known only from 1878 when an eruption generates caldera explosions and lava flows emitted from the northwest of the cinder cone located in the center. Exactly at the same place new lava flows in 1886. The last eruption, which takes place between October 26 and December 22, 1910, didn't emit  lava flows but generates explosions at summit cinder cone of the caldera. Since then, Mount Meru doesn't have eruption but it is still considered active. Fumaroles were observed of late 2014, early 2015, suggesting that it is indeed always active. The several small cones and craters seen in the vicinity probably reflect numerous episodes of volcanic activity.

Mount Meru is the topographic centerpiece of Arusha National Park. Its fertile slopes rise above the surrounding savanna and support a forest that hosts diverse wildlife, including nearly 400 species of birds, and also monkeys and leopards.
Climbing
The summit of Mount Meru is accessible to any good walker after a three-day ascent. The summit altitude and the steepness of its slopes are often an ideal warm-up for hikers who want to try later climb Kilimanjaro. Mount Meru still has some difficulty with the length of the climb and cold climate at the top that can cause exhaustion, a mountain sickness or hypothermia if equipment is inadequate and we overestimated his ability. Several  shelters possible : Miriakamba Hut at 2500 meters and Saddle Hut at 3600 meters. Accompaniment by a ranger of the Arusha National Park armed with a gun is required to prevent the attacks of wild animals (leopards, buffalos charging if they feel in danger, etc). Many hiking groups also ask for guides and porters. The high gradient allows the crossing of varied landscapes populated of wild animals at 2000 meters, more dense and humid forest at 3000 meters and lunar landscape of rock and ashes over 4000 meters.
The summit of Mount Meru offers a panorama appreciated especially in the early morning, the sun rising over Kilimanjaro located a few tens of kilometers to the east. His achievement is entitled to a certificate issued to the entrance of the park on the last day, the return of the climb.

The painter 

Robert Mc Lellan Sim (RMS) was born in Newport, Gwent, Wales.  He attended Newport Secondary School from 1919 to 1924. In 1926 he won three prizes for graphic arts at the National Eisteddfod of Wales and in 1926 he was awarded a scholarship to study at the Newport School of Arts and Crafts (now part of the University of Wales). After finishing college with a Board of Education Teachers Certificate he attended the Newport Institute for Research into Art and Design (N.I.R.A.D.). Years later NIRAD merged with its sister institute from Cardiff to create the Wales Institute for Research into Art and Design.  

RMS was a prolific artist, and during his time in East Africa (he travelled throughout Kenya, Uganda, Tanganyika and Zanzibar) he completed as many as 40 paintings a year. His work was in great demand, mostly in Kenya and purchased by many eminent people and was extremely popular as an official gift or a farewell present. The Colony of Kenya presented a McLellan-Sim painting to HM The Queen on the occasion of her Coronation in 1953, and HM The Queen Mother was presented with another to commemorate her Visit to Kenya in 1959. Many a departing dignitary at the time of independence received a McLellan-Sim painting as a farewell gift. Both Jake Fletcher and Amoeba Walker took McLellan-Sim works of art home with them to England when they left the Prince of Wales School. The Kenya Regiment presented a McLellan-Sim painting to Sir Patrick Renison as their departing Commander-in -Chief when he retired as Governor of Kenya in 1961. 

RMS was a successful commercial artist, with his clients including the East African Tobacco Company, the East African Standard and the Uganda Tourist Board. His public works included the murals for the Kenya Agricultural Stand in the Rhodes Centenary Exhibition of 1952 in Bulawayo, the Nakuru Railway Station murals of 1957 and the 1960 mural for the National Assembly Building in Nairobi. 

RMS designed the 1954 blue 10 shilling postage stamp depicting the Royal Lodge at Sagana.

RMS’s move to Kenya in 1947 was a search for colour and space. His brief war service in the Far East obviously gave him a taste for warmer climes, brighter colours and wide spaces, aspects that were to feature strongly in his African paintings. He is on record as saying that he preferred landscapes and seascapes to portraits because he could go away on his own, often combining his field trips with fishing expeditions, during which he could turn to his sketch book when the trout would not jump! 

In 1958, when back in England on home-leave, he told The Worthing Herald: 

”I always paint sunshine. It was the sunshine that attracted me. I can’t paint greyness and cloudy skies, so Kenya is definitely the place for me.” 

Reference

 - Old Cambrian Society 

PIZ GREVLASALVAS PAINTED BY GIOVANNI GIACOMETTI

GIOVANNI GIACOMETTI (1868-1933) 

Piz Grevalsalvas  (2,932 m -9,619 ft)

Swizterland 

 In Piz Grevalsalvas 1927, oil on canvas, Private coll.  

The mountain 

Piz Grevalsalvas (2,932 m -9,619 ft) is a mountain of the Albula Alps, located north of Maloja in the canton oSwitzerland Graubünden. It lies on the range between the Julier Pass and Lake Sils.

This is a ski mountain, where ski activity is intense in winter. From Piz Grevasalvas was stunning views of the Upper Engadine and Surgôt, upper Oberhalbstein. The neighboring peaks are Piz Mater Dell and Radonda Motta (in the club guide called Piz Nalar SAC) Lunghin Piz and Piz dal Sasc.

It is on the Grevasalvas that was filmed the famous children's series "Heidi" in 1978.

The painter 

Giovanni Giacometti was a Swiss painter, the father of  the famous painter and sculptor Alberto  Giacometti, and of Diego Giacometti, the furniture designer as well as the father of the architect Bruno Giacometti ! In 1886, he studied painting at the School of Decorative Arts in Munich, where he met Cuno Amiet the following year. Both decide to pursue their studies in Paris, in October stood at the Académie Julian, where Giacometti remains until 1891.

In 1893, shortly after his return to Switzerland, to Bergell, he became friends with Giovanni Segantini, his eldest ten years, which has great influence on his work by opening it to the beauty of the mountain scenery and the rules of divisionism. After his sudden death in 1899, Giacometti met Ferdinand Hodler, who teaches him to create a rigorous and ornamental composition by appropriate use of shapes and colors.

He sees regularly Cuno Amiet, who after a year spent in Pont-Aven,  shared his experience with him. In 1900 he exhibited in the Swiss Pavillon of the Universal Exhibition in Paris. From 1905, Giacometti works again in a great complicity with Amiet and begins to break free from the influence of Segantini. In 1906, held an exhibition of his work at Kunstlerhaus Zurich. In 1907 he went to Paris with Amiet to the Cézanne retrospective at the Salon d'Automne. They copy all the works of Van Gogh. In 1908, he exhibited with the French Fauves at the Richter Gallery in Dresden.

In 1909, the Tannhauser Gallery presents his works in Munich. He meets Alexi von Jawlensky, and in 1911 participates in the Berlin Secession. In 1912, Giacometti has a solo show at the Kunsthaus Zurich presents two works in the Sonderbund of Cologne. In 1918 after Hodler' s death, he began to be involved into the Swiss political world  paying an important part as a committed artist, following intthat way friend Amiet.
______________________________
2016 - Wandering Vertexes...
by Francis Rousseau
 

DIADEM MOUNTAIN PAINTED BY JOHN LA FARGE

JOHN LA FARGE (1835-1910) 

Diadem Mountain (1,321m - 4,334 ft) or Te Hena o Mai’ao 

 French Polynesia (Tahiti)

In  Diadem Mountain at Sunset, 1891, oil on canvas, Brooklyn Museum, USA

The mountain 
Diadem Mountain (1,321m - 4,334 ft) or Te Hena o Mai’ao is a peak located in  Tahiti, clearly visible from the plain of Pirae. Its shape recalls that of a "Tiara", a jewel forming half a crown. Diadem mountain  inspired many a photographer and painter, as John Lafarge who painted it at sunset.

Tahitian name is Hena o Te Mai'ao. Te Hena, was the refuge of the warrior Tehana Tohua that the top of the mountain with a rounded top, would direct his troops and watched the pass Taonua Pirae. As soon as the canoes enemies with the shooters arrived on the  Aorai Tini Au beach, the warriors descended directly from the mountain gliding over the reeds (a'eho).

"A'eho mata mata te ura i ve to ihe ea" means" The house doors were made with this reed".

Tahiti is the highest and largest island in French Polynesia lying close to Moorea island. It is located 4,400 km (2,734 mi) south of Hawaii, 7,900 km (4,909 mi) from Chile and 5,700 km (3,542 mi) from Australia. The island is 45 km (28 mi) across at its widest point and covers an area of 1,045 km² (403 sq mi). The highest peak is Mont Orohena (Mou'a 'Orohena) (2,241 m (7,352 ft)). Mount Roonui, or Mount Ronui (Mou'a Rōnui) in the southeast rises to 1,332 m (4,370 ft). The island consists of two roughly round portions centred on volcanic mountains and connected by a short isthmus named after the small town of Taravao, situated there.

The northwestern portion is known as Tahiti Nui ("big Tahiti"), while the much smaller southeastern portion is known as Tahiti Iti ("small Tahiti") or Tai'arapū. Tahiti Nui is heavily populated along the coast, especially around the capital, Papeete.

The interior of Tahiti Nui is almost entirely uninhabited. Tahiti Iti has remained isolated, as its southeastern half (Te Pari) is accessible only to those travelling by boat or on foot. The rest of the island is encircled by a main road which cuts between the mountains and the sea.

A scenic and winding interior road climbs past dairy farms and citrus groves with panoramic views. Tahiti's landscape features lush rainforests and many streams, including the Papenoo River on the north side.

 The Painter 

John La Farge was an American painter, muralist, stained glass window maker, decorator, and writer.

born in New York City to wealthy French parents and was raised bilingually; as a child, he and his brothers produced a handmade magazine in French entitled Le Chinois.  His interest in art began during his studies at Mount St. Mary's University in Maryland and St. John's College (now Fordham University) in New York.  He initially intended to study law, but this changed after his first visit to Paris, France in 1856. Stimulated by the arts in the city, he studied with Thomas Couture and became acquainted with notable literary people. La Farge also studied with the painter William Morris Hunt in Newport, Rhode Island.

La Farge's earliest drawings and landscapes, from his studies in Newport, show marked originality, especially in the handling of color values. Many of La Farge's mythological and religious paintings, including Virgil, were executed in an area of Rhode Island known as "Paradise," in a forest which La Farge called "The Sacred Grove" after Virgil.

He was a pioneer in the study of Japanese art, the influence of which is seen in his work. During his life, La Farge maintained a studio at 51 West 10th Street in Greenwich Village, which now is part of the site of Eugene Lang College at the New School University.

Between 1859 and 1870, he illustrated Tennyson's Enoch Arden and Robert Browning's Men and Women.

In the 1870s, La Farge began to do murals, which became popular for public buildings as well as churches. His first mural was done in Trinity Church, Boston, in 1873. Then followed his decorations in the Church of the Ascension (the large altarpiece) and St. Paul's Chapel, New York. For the Minnesota State Capitol at St. Paul, he executed at age 71 four great lunettes representing the history of law. He created a similar series based on the theme of Justice for the State Supreme Court building at Baltimore, Maryland. He also took private commission from wealthy patrons (e.g. Cornelius Vanderbilt) and was reputedly worth $150,000 at one point.

La Farge made extensive travels in Asia and the South Pacific, which inspired his painting. He visited Japan in 1886, and the South Seas in 1890 and 1891, in particular spending time and absorbing the culture of Tahiti. Henry Adams accompanied him on these trips as a travel companion. He visited Hawaii in September 1890, where he painted scenic spots on Oahu and traveled to the Island of Hawaii to paint an active volcano.

In 1892, La Farge was brought on as an instructor with the Metropolitan Museum of Art Schools to provide vocational training to students in New York City. He served as President of the National Society of Mural Painters from 1899 to 1904.

La Farge died at Butler Hospital, in Providence, Rhode Island in 1910. The interment was at Green-Wood Cemetery, in Brooklyn, New York. His papers, together with some of those of certain children and grandchildren, are held by Yale University Library.

CAYAMBE PAINTED BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH  (1826-1900) 

 Cayambe  (5,790 m -19,000 ft)

 Ecuador

In The Andes of Ecuador, oil on canvas, 1858

The mountain 

Cayambe or Volcбn Cayambe (5,790 m -19,000 ft) is the name of a volcano located in the Cordillera Central, a range of the Ecuadorian Andes. It is located in Pichincha province some 70 km (43 mi) northeast of Quito. It is the third highest mountain in Ecuador.

Cayambe, which has a permanent snow cap, is a Holocene compound volcano which last erupted in March 1786. At 4,690 metres (15,387 ft) on its south slope is the highest point in the world crossed by the Equator and the only point on the Equator with snow cover. The volcano and most of its slopes are within the Cayambe Coca Ecological Reserve.  Studies conducted since 1995 by a joint team of Ecuadorian and French researchers have shown that during the last 4000, the Cayambe has experienced periods of intense eruptive activity about 700 years alternating with rest periods of 500 to 600 years. The resumption of eruptions must be considered.
Moreover, the region is home to numerous flower plantations for export; however, the non-secure management and toxic effects of these crops have caused serious damage to the environment and create health problems among employees of the plantations.

The painter
Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes.
Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes.  Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases.  Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.
Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.
This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes,” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.