GERLACHOVSKY STIT (2) BY STANISLAW GALEK

STANISLAW GALEK (1876-1961)

Gechovský štít (2,654 m - 8,709 ft)

Slovakia- Poland

  In Tatry, watercolor, Private collection 

The mountain 

 Gerlachovský štít (2,654 m - 8,709 ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.

Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.

The painter 
Stanisław Gałek was a Polish painter and sculptor, and... designer of kilims. In 1896 he graduated from the Vocational School of Wood Industry in Zakopane and then taught in it a drawing, being an assistant to Edgar Kováts . In 1899 he began studies at the Krakow Academy of Fine Arts in the studios of Jacek Malczewski and Jan Stanisławski. A year later, he stopped studying in Kraków and left for Munich , where he began studying at Königliche Kunstgewerbeschule.
Later, he studied at the Paris École Nationale des Beaux-Arts in the studio of Jean-Léon Gérôme.
In 1910, he left to create in Italy and the Crimea . In 1912 he received the work of a drawing teacher at a vocational school in Kołomyja, from where he returned to Zakopane in 1916 and again began to teach at the School of Wood Industry.
From 1931, he devoted himself only to painting.
 He exhibited his works for the first time in 1900, he was a regular participant in exhibitions organized by the Krakow Society of Friends of Fine Arts and from 1907 by the Society for the Encouragement of Fine Arts. He took part in an international exhibition organized in 1910 in Berlin, and in 1929 in the Poznań Universal National Exhibition. In 1930 he exhibited in Budapest and Vienna.  In 1960, the Warsaw Zachęta exhibition hosted an individual jubilee exhibition showing the full artistic output of Stanisław Gałek. He was one of the most outstanding painters showing the Tatras , especially the area around Morskie Oko.
In addition, he carved and designed patterns of kilims for the Kilim association in Zakopane.

_______________________________
2019 - Wandering Vertexes...
Un blog de Francis Rousseau

GERLACHOVSKY STIT BY STANISLAW GALEK

STANISLAW GALEK (1876-1961)

Gechovský štít (2,654 m - 8,709 ft)

Slovakia- Poland

  In Turnie tatrzanskie, watercolor, Private collection 

The mountain 

 Gerlachovský štít (2,654 m - 8,709 ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.

Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.

The painter 
Stanisław Gałek was a Polish painter and sculptor, and... designer of kilims. In 1896 he graduated from the Vocational School of Wood Industry in Zakopane and then taught in it a drawing, being an assistant to Edgar Kováts . In 1899 he began studies at the Krakow Academy of Fine Arts in the studios of Jacek Malczewski and Jan Stanisławski. A year later, he stopped studying in Kraków and left for Munich , where he began studying at Königliche Kunstgewerbeschule.
Later, he studied at the Paris École Nationale des Beaux-Arts in the studio of Jean-Léon Gérôme.
In 1910, he left to create in Italy and the Crimea . In 1912 he received the work of a drawing teacher at a vocational school in Kołomyja, from where he returned to Zakopane in 1916 and again began to teach at the School of Wood Industry.
From 1931, he devoted himself only to painting.
 He exhibited his works for the first time in 1900, he was a regular participant in exhibitions organized by the Krakow Society of Friends of Fine Arts and from 1907 by the Society for the Encouragement of Fine Arts. He took part in an international exhibition organized in 1910 in Berlin, and in 1929 in the Poznań Universal National Exhibition. In 1930 he exhibited in Budapest and Vienna.  In 1960, the Warsaw Zachęta exhibition hosted an individual jubilee exhibition showing the full artistic output of Stanisław Gałek. He was one of the most outstanding painters showing the Tatras , especially the area around Morskie Oko.
In addition, he carved and designed patterns of kilims for the Kilim association in Zakopane.

_______________________________
2018 - Wandering Vertexes...
Un blog de Francis Rousseau

GERLACHOVSKY STIT (2) BY JAN STANISLAWSKI

  JAN STANISLAWSKI (1860-1907)

 Gerlachovský štít (2,654 m - 8,709 ft)

Poland - Slovakia border

In  Tatras,  medium oil on cardboard, 1900

The mountain 

Gerlachovský štít (2,654 m - 8,709 ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.

Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.

The painter 
Jan Stanisławski was a Polish modernist painter, art educator, founder and member of various innovative art groups and literary societies. He began to learn painting at the art studio in Warsaw which later gave rise to the School of Fine Arts, under Wojciech Gerson.  In 1885, he continued his studies in Paris under Charles Emile Auguste Durand. While based in Paris, he travelled much, visiting Italy, Spain, Switzerland, Germany, Austria and eastern Galicia.
His early works were exhibited at the inauguration of the Salon du Champ-de-Mars in Paris in 1890 and at the Kraków Society of Friends of Fine Arts in 1892. In the 1890s, he travelled extensively and his sketchbooks filled up with drawings from Berlin, Dresden, Prague, Kraków, and various places in Ukraine.  In 1897, he initiated and helped organise the Separate Exhibition of Painting and Sculpture at Kraków’s Cloth Hall. That year, he became a teacher of landscape painting at the School of Fine Arts in Kraków, and in 1906 – after the school was upgraded to an academy in 1900 – was granted full professorship and also taught at Teodor Axentowicz’s Private School of Painting and Drawing for Women and at Teofila Certowicz’s Art School for Women in Kraków.
He co-founded the Society of Polish Artists "Sztuka" ("Art") in Kraków in 1897.  In 1898, he became a member of the Viennese Secession, and his works were exhibited among theirs in 1901, 1902 and 1905. In 1901, he became a founding member of the Polish Applied Arts Society. He worked in the Wawel Castle Reconstruction Committee and was involved in the activities of the Green Balloon (Zielony Balonik) Cabaret. After his death, two exhibitions were opened at the Palace of Art by the Kraków Society of Friends of Fine Arts in November 1907, one to show 154 of his oil paintings, as well as drawings and watercolours, and the other to present the works of his numerous outstanding students.

_______________________________
2018 - Wandering Vertexes...
by Francis Rousseau 

GERLACHOVSKY STIT BY JAN STANISLAWSKI

JAN STANISLAWSKI (1860-1907), 

Gerlachovský štít (2,654 m - 8,709 ft)

Slovakia- Poland

 In High Tatras in winter, oil on canvas,  1891

The mountain 
 Gerlachovský štít (2,654 m - 8,709 ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.
Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.
Climbing
The High Tatras is truly an alpine rock climber’s paradise since there are no nasty glaciers about and the snow is mostly gone by June, though it may linger in some of the shaded valleys until late August. There are literally hundreds of alpine rock and face climbs here and most of them have never been done by westerners even 10 years after the fall of the wall. Most importantly the rock quality is on a par with Yosemite and the routes are well established and protected. Only members of a national UIAA club are allowed to climb the peak on their own. Other visitors have to take a certified mountain guide. The two easiest routes, usually up the Velická próba and down the Batizovská próba named after their respective valleys, are protected by chains.Technically only a grade II to III climb when not snow covered it benefits greatly from a very well maintained mountain trail that leads to the summit along a standard route.

The painter 
Jan Stanisławski was a Polish modernist painter, art educator, founder and member of various innovative art groups and literary societies. He began to learn painting at the art studio in Warsaw which later gave rise to the School of Fine Arts, under Wojciech Gerson.  In 1885, he continued his studies in Paris under Charles Emile Auguste Durand. While based in Paris, he travelled much, visiting Italy, Spain, Switzerland, Germany, Austria and eastern Galicia.
His early works were exhibited at the inauguration of the Salon du Champ-de-Mars in Paris in 1890 and at the Kraków Society of Friends of Fine Arts in 1892. In the 1890s, he travelled extensively and his sketchbooks filled up with drawings from Berlin, Dresden, Prague, Kraków, and various places in Ukraine.  In 1897, he initiated and helped organise the Separate Exhibition of Painting and Sculpture at Kraków’s Cloth Hall. That year, he became a teacher of landscape painting at the School of Fine Arts in Kraków, and in 1906 – after the school was upgraded to an academy in 1900 – was granted full professorship and also taught at Teodor Axentowicz’s Private School of Painting and Drawing for Women and at Teofila Certowicz’s Art School for Women in Kraków.
He co-founded the Society of Polish Artists "Sztuka" ("Art") in Kraków in 1897.  In 1898, he became a member of the Viennese Secession, and his works were exhibited among theirs in 1901, 1902 and 1905. In 1901, he became a founding member of the Polish Applied Arts Society. He worked in the Wawel Castle Reconstruction Committee and was involved in the activities of the Green Balloon (Zielony Balonik) Cabaret. After his death, two exhibitions were opened at the Palace of Art by the Kraków Society of Friends of Fine Arts in November 1907, one to show 154 of his oil paintings, as well as drawings and watercolours, and the other to present the works of his numerous outstanding students.
_______________________________
2017 - Wandering Vertexes...
by Francis Rousseau

GERLACHOVSKY STIT BY ADRIAN STOKES

ADRIAN STOKES (1902-1972) 

Gerlach Peak or Gerlachovsky stit (2,654m - 8,709ft) 

Slovakia 

 In Lake of Csorba, High Tatras, Peak of Gerlach, Hungary - oil on canvas - Tate Britain

The mountain 
Gerlachovský štít (2,654m - 8,709ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.
Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.
Climbing 
The High Tatras is truly an alpine rock climber’s paradise since there are no nasty glaciers about and the snow is mostly gone by June, though it may linger in some of the shaded valleys until late August. There are literally hundreds of alpine rock and face climbs here and most of them have never been done by westerners even 10 years after the fall of the wall. Most importantly the rock quality is on a par with Yosemite and the routes are well established and protected. Only members of a national UIAA club are allowed to climb the peak on their own. Other visitors have to take a certified mountain guide. The two easiest routes, usually up the Velická próba and down the Batizovská próba named after their respective valleys, are protected by chains.Technically only a grade II to III climb when not snow covered it benefits greatly from a very well maintained mountain trail that leads to the summit along a standard route.
Source: 
- Summit post.org

The painter 
Adrian Stokes was a British writer and painter, known principally as an influential art critic. He was also a published poet. Stokes’s first major achievements began after he met modernist poet, Ezra Pound in November 1926, and after he started analysis with Melanie Klein, in January 1930. Stokes evolved an innovative aesthetic in the first two of his major books of the 1930s - The Quattro Cento (1932) and Stones of Rimini (1934).
In The Quattro Cento he characterized the intense Early Renaissance feeling for material and space as 'mass-effect' and 'stone-blossom'. The stone—deeply respected as a medium – is, he said, 'carved to flower' thereby bringing to the surface the fantasies the artist reads in its depths.
Stones of Rimini (1934) tightens and focuses these organicist themes, further psychologises the artistic process, and establishes thereby one of Stokes’s most central themes: the duality of 'carving-modelling'.  In the contemporary art of the 1930s Stokes found these 'carving' qualities in the work of Ben Nicholson, Barbara Hepworth, and Henry Moore, whose Modernism he championed in articles in The Spectator. As a lover of ballet and a ballet-critic Stokes also promoted the avant-garde creations of the Ballets Russes in two further books: To-Night the Ballet (1934) and Russian Ballets (1935). Following the end of his analysis in 1935 he learnt to paint, joined the Euston Road school of art, and extended his carving-modelling aesthetic to painting in his seventh book, Colour and Form (1937).
In the following years he drew on the work of Klein and other psychoanalysts in reformulating his previous carving-modelling aesthetic in terms of ‘depressive’ and ‘paranoid-schizoid’ states of mind. This featured in his book, Smooth and Rough (1951),which was the last Faber publication and was much more developed in his next book, Michelangelo (1955) now published by Tavistock. At the same time Stokes helped & contributed papers to the 'Imago Group' which met regularly for nearly eighteen years to discuss applications of psychoanalysis to philosophy, politics, ethics, and aesthetics. A year after his death in 1972 these papers were published by Carcanet in the book, A Game That Must Be Lost (1973) which remains one of the most fitting tributes to his life's work.
Source: 
- Tate Britain + Wikipedia