KONSTANTIN BOGAEVSKY (1872-1943)
El Altar / Capak Urcu (5,319 m (17,451 ft)
Ecuador
El Altar / Capak Urcu (5,319 m (17,451 ft)
Ecuador
In Altars, 1907, Private collection
The mountain
El Altar (5,319 m - 17,451 ft) or Capac Urcu (in Kitchwa) is an extinct volcano on the western side of Sangay National Park in Ecuador, 170 km (110 mi) south of Quito. Spaniards named it so because it resembled two nuns and four friars listening to a bishop around a church altar. In older English sources it is also called The Altar.
The mountain consists of a large stratovolcano of Pliocene-Pleistocene age with a caldera breached to the west. Inca legends report that the top of Altar collapsed after seven years of activity in about 1460, but the caldera is considered to be much older than this by geologists. Nine major peaks over 5,000 metres (16,400 ft) form a horseshoe-shaped ridge about 3 kilometres (1.9 mi) across, surrounding a central basin that contains a crater lake at about 4,200 m (13,800 ft), known as Laguna Collanes or Laguna Amarilla.
The painter
Konstantin Fyodorovich Bogaevsky was a Russian painter notable for his Symbolist landscapes who took first lessons in art from Ivan Aivazovsky. 1891-1897 he studied at the Imperial Academy of Arts in the class of Arkhip Kuindzhi. The art of young Konstantin was not popular with the Academy and he was even at some stage temporarily discharged from the Academy for "lack of talent". Despite this, Kuindzhi always had a high respect for his pupil and protected him. In 1898 Konstantin traveled to Italy and France where he became acquainted with the works of Claude Lorrain, whom he proclaimed as his true teacher. His first exhibition was in Moscow in 1898.
From 1900 Bogaevsky worked in Feodosia. The main theme of his works became the symbolist landscapes of a non-existent land (known to his friends as Bogaevia) that he saw only in his dreams. Konstantin Bogaevsky became a popular painter after Maximilian Voloshin published a series of essays titled Konstantin Bogaevsky. Voloshin highly praised the symbolism of Bogaevsky's paintings. Contemporaries often drew parallels between Bogaevsky and Nicholas Roerich.
Bogaevsky was a member of Mir iskusstva, Union of Russian Artists, and the Zhar-Tsvet. In 1906 he exhibited his paintings on Exposition de l'Art Russe organized by Sergei Diaghilev. In 1911 he visited Italy and discovered for himself the paintings of Andrea Mantegna, which were to strongly influence Bogaevsky's own later work.
Bogaevsky returned in 1912 to Feodosia where he was to remain for the rest of his life. He maintained a friendship of many years with another famous Feodosian and a bard of a non-existent land, Alexander Grin, as well as with the Koktebel group of Russian Intelligentsia including Maximilian Voloshin, Marina Tsvetaeva, and Osip Mandelstam.
After the October Revolution Bogaevsky retreated into relative obscurity, although works such as the 1932 Port of an Imaginary City were highly regarded as art in the school of Socialist Realism painting of the DnieproGES.
A minor planet, 3839 Bogaevskij, discovered by Soviet astronomer Nikolai Stepanovich Chernykh in 1971, is named after him.
_____________________________
2020 - Wandering Vertexes...
by Francis Rousseau