L 'ACROPOLE D'ATHÊNES PEINT PAR FREDERIC EDWIN CHURCH

 

 

FREDERIC EDWIN CHURCH (1826-1900)

L'Acropole d'Athènes (156m -512ft)

Grèce

In Acropolis od Athens,  oil on canvas, The MET

La colline
L'Acropole d'Athènes (156m -512ft) (Ακρόπολη Αθηνών) est situé sur un plateau rocheux calcaire dont le sommet plat mesure environ 270 mètres d'est en ouest et 85 mètres du nord au sud, s'élargissant jusqu'à près de 150 mètres grâce au travaux faits au  Ve siècle avant l'ère chrétienne. Le terme d"acropole" (ἀκρόπολις / akrópolis) vient de l'adjectif ἄκρος (ákros "haut") et du nom πόλις (pólis, "ville, ville"), signifiant ainsi  la "ville haute".
Il est accessible du côté ouest par une pente raide menant aux Propylées. Le plateau peut être aussi atteint par deux failles creusées par l'érosion sur la  face nord . Les faces est et sud  sont aussi inaccessibles. C'est même par le côté est, jugé trop escarpé et donc non surveillé, que les Perses pénétrèrent dans la forteresse en 480 avant l'ère chrétienne.
Le sanctuaire de l'Acropole d'Athènes s'organise autour de la statue de la divinité tutélaire de la ville. Cette statue d'Athéna Polias n'est connue que par quelques textes. Ce devait être un Xoanon, une sorte de poutre en bois d'olivier, presque aniconique.   Elle devait être plutôt debout : une poutre est difficile à asseoir et ressemble plus à un personnage debout qu'assis ; il n'y a pas non plus de mention de trône dans les textes ; enfin, Athéna est le plus souvent représentée debout.
Chaque année, la statue était lavée, ses péplos changés et sa parure (bijoux et accessoires) nettoyée. Ses bijoux étaient des boucles d'oreilles, une bordure sur le cou et cinq colliers. Ses accessoires, tout en or, étaient une chouette, une égide, une gorgone et une phiale. Elle n'avait pas d'armes : elle n'était donc pas la déesse guerrière des statues les plus célèbres par la suite (Athéna Parthénos et Athéna Promachos de Phidias). Ces bijoux et accessoires pourraient dater de la "restructuration" de la statue primitive par Endoios. Il aurait fait de la poutre une corée en y fixant un bras (et une main tenant la phiale)

Le peintre
Frederic Edwin Church  est un peintre américain dont l'œuvre constitue l'expression la plus originale et la plus complète du romantisme dans la peinture américaine. Church a le paysage pour domaine. Élève de Thomas Cole entre 1844 et 1846, il commence par recueillir les formules ambiguës de son maître et sa vision d'un immense paysage dramatisé. Mais, tandis que chez la plupart des peintres de l'école de l'Hudson l'exemple de Cole aboutit à un type de paysage composé, tout de poncifs, Church le renouvelle par une étude passionnément objective de la nature. À partir de 1890 environ, il entreprend de grands voyages à travers le continent américain, accumulant des études sur le motif, où l'action de la lumière est notée avec une précision quasi photographique. Ces études s'apparentent à celles d'Asher B. Durand, par exemple, et, comme lui, Church les utilise pour de grands paysages composés. Mais au lieu d'« idéaliser » l'observation initiale suivant les vieux procédés du paysage classique, il rejoint plutôt la jeune tradition « luministe » américaine, son hyperréalisme de la lumière qui donne la même intensité à tous les détails. Les motifs de prédilection de Church, inspirés par les terribles magnificences de la nature — montagnes, forêts vierges, glaciers, chutes d'eau (Le Niagara, 1857, Cocoran Gallery of Art, Washington ; Le Cœur des Andes, 1859, Metropolitan Museum, New York ; Le Cotopaxi, collection Aston, New York) —, rejoignent le répertoire du grand romantisme européen (Caspar David Friedrich, J.M.W. Turner...) et contiennent le même pouvoir de suggestion, le même symbolisme élémentaire et puissant. À un moment où le romantisme ne s'exprime plus guère dans la peinture européenne que sous une forme dérisoire, l'œuvre de Church constitue une réalisation saisissante du rêve exprimé par Baudelaire, qui, dans le Salon de 1859, regrettait que l'imagination doive fuir le paysage et évoquait avec nostalgie « le paysage romantique et même le paysage romanesque ».

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2022 - Wandering Vertexes ....
            Errant au-dessus des Sommets Silencieux...
            Un blog de Francis Rousseau

THE ACROPOLIS OF ATHENS BY DAVID ROBERTS

 

DAVID ROBERTS  (1796-1864)

The Acropolis of Athens (156m -512ft)

Greece

In The Acroplis, from the lower end of the Valley, litograph prints,  Private collection

The hill
The Acropolis of Athens  (156m ) is located on a rocky limestone plateau, the flat top of which measures around 270 meters from east to west and, in its natural state 85 meters from north to south, widened up to almost 150 meters by the works of the fifth century BC. AD, approximately 23,000 m22.
The term "acropolis" (ἀκρόπολις / akrópolis) comes from the adjective ἄκρος (ákros "high, high") and the noun πόλις (pólis, "city, town"), thus meaning "upper town".
It is accessible by a steep slope on the west side which leads to the Propylaea. However, the plateau can be reached on its north face by two faults dug by erosion. The east and south faces themselves are not inaccessible. It was even from the east side, deemed too steep and therefore unsupervised, that the Persian forces entered the fortress in 480 BC. J.-C.
The sanctuary of the Acropolis of Athens is organized around the statue of the tutelary deity of the city. This statue of Athena Polias is only known by a few texts.  It must have been a xoanon, a kind of olive wood beam, almost aniconic.  Athena is most often represented standing.
Every year, the statue was washed, its peplos changed and its adornment (jewelry and accessories) cleaned. Her jewels were earrings, a border on the neck and five necklaces. His accessories, all in gold, were an owl, an aegis, a Gorgonion and a phiale. She had no weapons: she was therefore not the warrior goddess of the most famous statues afterwards (Athena Parthenos and Athena Promachos of Phidias). These jewels and accessories could date from the "restructuring" of the primitive statue by Endoios. He would have made the beam a korea by fixing an arm to it (and a hand holding the phiale)

The artist
David Roberts  was a Scottish painter. He is especially known for The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia, a prolific series of detailed lithograph prints of Egypt and the Near East that he produced from sketches he made during long tours of the region (1838–1840). These and his large oil paintings of similar subjects made him a prominent Orientalist painter. He was elected as a Royal Academician in 1841.
J. M. W. Turner persuaded Roberts to abandon scene painting and devote himself to becoming a full-time artist. Roberts set sail for Egypt on 31 August 1838, a few years after Owen Jones. His intent was to produce drawings that he could later use as the basis for the paintings and lithographs to sell to the public. Egypt was much in vogue at this time, and travellers, collectors and lovers of antiquities were keen to buy works inspired by the East or depicting the great monuments of ancient Egypt.
Roberts made a long tour in Egypt, Nubia, the Sinai, the Holy Land, Jordan and Lebanon. Throughout, he produced a vast collection of drawings and watercolour sketches.
Muhammad Ali Pasha received Roberts in Alexandria on 16 May 1839, shortly before his return to the UK. He later reproduced this scene, apparently from memory, in Volume 3 of Egypt & Nubia.

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2020 - Wandering Vertexes...
by Francis Rousseau

MOUNT PARNASSUS BY SPYROS PAPALOUKAS

SPYROS PAPALOUKAS (1892-1957) 

Parnassus (2, 457m - 8,061ft)

Greece

In Landscape, Mount Parnassus, watercolor on paper, The National Gallery - Alexandros Soutsos Museum, Greece 

The mountain
Parnassus or Mount Parnassus (2, 457m - 8,061ft), in greek Parnassos (Παρνασσός) which means "the mountain of the house of the god", is a mountain of limestone in central Greece that towers above Delphi, north of the Gulf of Corinth. According to Greek mythology, this mountain was sacred to Dionysus and the Dionysian mysteries; it was also sacred to Apollo and the Corycian nymphs, and it was the home of the Muses. The mountain was also favored by the Dorians. Parnassus is one of the largest mountainous regions of Mainland Greece and one of the highest Greek mountains. It spreads over three municipalities, namely of Boeotia, Phthiotis and Phocis, where its largest part lies. Its highest peak is Liakouras.
This relation of the mountain to the Muses offered an instigation to its more recent "mystification", with the poetic-artistic trend of the 19th century called "Parnassism". The Parnassic movement was established in France in the decade 1866–1876 as a reaction to Romanticism with a return to some classicistic elements and belief in the doctrine "Art for the Art", first expressed by the poet Theophile Gautier. The periodical Modern Parnassus issued for the first time by Catul Mendes and Xavier Ricard contained direct references to Mount.Parnassus and its mythological feature as habitation of the Muses. The Parnassists, who did not exceed a group of twenty poets, exercised a relatively strong influence on the cultural life of Paris, particularly due to their tenacity on perfection of rhyme and vocabulary. Parnassism influenced several French poets, such as Baudelaire, but it also exercised an influence on Modern Greek poets, particularly Kostis Palamas and Gryparis.
The name of the mountain, (Mont Parnasse in french), was also given to an area of Paris on the left banc of the Seine, where artists and poets used to gather. Montparnasse is nowadays one of the most renowned quarters of the city and in its cemetery many personalities of the arts and culture are buried.

The painter
He studied at the School of Fine Arts (1909-1916)  winning seven first prizes during his attendance. In 1917 he went to Paris where he continued his studies at the Julian and Grande Chaumiere Academies but stopped in 1921 to take part in the Asia Minor Campaign as a war painter along with Periklis Vyzantios and Pavlos Rodokanakis. The works he painted there were exhibited at the Zappeion Hall in 1922, but were later lost in the destruction of Smyrna.
During 1923-1924 he stayed in Mt. Athos where he studied nature and Byzantine art and painted a series of works he exhibited at the end of 1924 in Thessaloniki. Having won the contest for the illustration of the Cathedral of Amfissa in 1926, he worked on the decoration from 1927 to 1932 while from 1932 to 1933 he painted an apartment building in the Exarcheia section of Athens, known ever since as the Blue Apartment House. His activity as a hagiographer and decorator continued with the illustration of other churches and the decoration of the Archaeological Museum of Herakleio; in 1926 his interest in set design commenced and he did sets for the performances at the National Theater, the Kotopouli Theater and elsewhere. He taught freehand and decorative drawing at the Handicrafts School, starting in 1925, decorative arts at the Sivitanideio Institute starting in 1936 while in 1940 he was appointed decorator of the Town-Planning Service of the Ministry for the Administration of the Capital and the Technical Service of the Municipality of Athens. At the same time he assumed the management of the Municipal Gallery. From 1943 to 1951 he taught freehand drawing at the Architectural School of the National Technical University and in 1956 was elected professor to the painting studio of the School of Fine Arts.
During the period 1935 to 1937 he published the avant garde Greek magazine Το Τρίτο Μάτι. A founding member of the Art Group and member of the League of Greek Artists, he took part in their exhibitions, in group shows in Greece and abroad as well as in Panhellenies.

In 1976 his work was presented in a retrospective exhibition at the National Gallery and in 1982 at the Cultural Center of the Municipality of Athens.
He was involved with portraiture and still life, but landscape is what dominated his painting which he rendered after having fully assimilated the doctrines of Byzantine art as well as certain post-impressionistic trends: Paul Gauguin, the Nabis and Pointillism in particular. In his portraits he adopted various techniques while in his iconography he endeavored to combine traditional Byzantine types with elements derived from modern artistic trends.

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2019 - Wandering Vertexes...

by Francis Rousseau 

TALETON PAINTED BY KONSTANTINOS MALEAS

KONSTANTINOS MALEAS  (1879 - 1928)

Profitis Ilias or Taleton  (2, 404 m - 7,887 ft) 

Greece 

The mountain
Profitis Ilias (2404 m - 7887 ft or "Prophet Elias", probably the classical Mount Taleton mentioned by Pausanias, is the tallest mountain in the Peloponnese peninsula in Southern Greece par of the Mount Taygetus massif (Ταΰγετος)
The name is one of the oldest recorded in Europe, appearing in the Odyssey. In classical mythology, it was associated with the nymph Taygete. During Byzantine times and up until the 19th century, the mountain was also known as Pentadaktylos (five-fingered, a common name during that period).
The Tayetus Massif is about 100 km (62 mi) long, extending from the center of the Peloponnese to Cape Matapan, its southernmost extremity.The summit is an ultra-prominent peak. It is prominent above the Isthmus of Corinth, which separating the Peloponnese from mainland Greece, rises only to approximately 60 m (200 ft). Numerous creeks wash down from the mountains and the Eurotas has some of its headwaters in the northern part of the range. The western side of the massif houses the headwaters of the Vyros Gorge, which carries winter snowmelt down the mountain, emptying into the Messenian Gulf in the town of Kardamyli.
The peak known as Taleton, above Bryseae, was 'dedicated' to Helios, the Sun, to whom horses were sacrificed.  Taleton was also 'dedicated' to Zeus. Today, the mountain is closely associated with the holy Prophet Elias, and every year on the 20th of July (the Greek Orthodox name day for the Prophet Elias), the small chapel at the peak holds a large festival, including a massive bonfire in commemoration of the Prophet Elias (note: a Greek-style transliteration of 'Eliyah,' אליה the prophet), as he is believed to have ascended up into heaven in a chariot of fire. The bonfire can be seen from anywhere with clear view of the summit, and it is for this reason that the town of Kardamyli is a local gathering point for those who wish to view the fire without having to climb the mountain.

The painter
Konstantinos Maleas (1879 - 1928) (Κωνσταντίνος Μαλέας)was one of the most important Post-impressionist Greek painters of the 20th century. Along with Konstantinos Parthenis, he is sometimes considered Greece's most important modern artist. Maleas work was influenced by the work of Paul Cézanne, Paul Gauguin, Vincent van Gogh, and by the art movements. of symbolism, impressionism and fauvism. His paintings are characterized by very light and bright colors, the large brushes that revolutionalised the stagnant Athenian art of the time. Most art critics condemned his work , and it was only Fotos Politis that recognized the value of Maleas's work, also urging young artists to learn from his paintings. Maleas remains one of the most popular Greek modern artists, and his works are exhibited at the National Gallery of Athens and elsewhere.

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2019 - Wandering Vertexes...

by Francis Rousseau 

MOUNT ZEUS PAINTED BY CLÉMENT SERVEAU

CLÉMENT SERVEAU (1886-1972)

Mount Zeus or Zas (1,003 m - 3,290 ft) 

Greece  (Naxos)

  In Naxos Cyclades, oil on canvas,  private collection 

The mountain 

Mount Zeus  also called Mount Zas (1,003 m - 3,290 ft) has the proud status of being the highest peak in the Greek Cyclades. Located in the Tragea region on the island of Naxos, Mount Zeus has important historical significance. In ancient times, the local Greeks believed that the cave on the northwest flanks of the mountain was the birthplace of the god Zeus. Zeus, the god of the gods, became known to the Olympians. This is how Mount Zeus and the Cave Of Zeus were named.

The mountain falls fairly quickly in the sea in the eastern part of the island. More than half of Naxos are slopes over 25% 9.

According to summit post, there are two popular routes to the summit and a third which is not often used. The easiest is the Aghia Marina route, nicknamed after the little chapel near where it starts. This well-maintained trail is posted with a number of signs and cairns and is easy to follow to the summit. The second route is called Aria Spring / Cave Of Zeus. This route is more interesting than Aghia Marina but is also steeper and more of a challenge. A few spots might require the use of hands. The third route follows the entire south ridge and will not be described here but you can take a look at it on the map. For those using a GPS, these coordinates might be useful.

The painter 

Henri-Clément Serveau, also known as Clément Serveau was a French painter, designer, engraver and illustrator. Clément Serveau produced works in a realist manner early on, but soon became interested in the new movements. He was influenced by his friend Louis Marcoussis and experimented with Cubism, utilising geometric patterns to give the illusion of form and space. Later in his career he turned toward abstraction with a post-cubist stance. He designed banknotes for the Banque de France and produced large murals and participated in numerous French and international exhibitions.

2018 - Wandering Vertexes...

Un blog de Francis Rousseau

ACROCORINTH PAINTED BY CARL ROTTMANN

CARL ROTTMANN (1797-1850)
Acrocorinth (575m - 1,886 ft)
Greece

 In Corinth with Akrocorinth, 1847, oil on canvas, Neue Pinacothek Munchen 

The rock formation
Acrocorinth (575m - 1,886 ft) (Ακροκόρινθος) or "Upper Corinth", the acropolis of ancient Corinth, is a monolithic rock overseeing the ancient city of Corinth, Greece. Acrocorinth was continuously occupied from archaic times to the early 19th century. Along with Demetrias and Chalcis, the Acrocorinth during the Hellenistic period formed one of the so-called "Fetters of Greece" - three fortresses garrisoned by the Macedonians to secure their control of the Greek city-states. The city's archaic acropolis, already an easily defensible position due to its geomorphology, was further heavily fortified during the Byzantine Empire as it became the seat of the strategos of the thema of Hellas and later of the Peloponnese. It was defended against the Crusaders for three years by Leo Sgouros.
The highest peak on the site was home to a temple to Aphrodite which was converted to a church in  and then became a mosque. The American School's Corinth Excavations began excavations on it in 1929. Currently, Acrocorinth is one of the most important medieval castle sites of Greece.
In a Corinthian myth related in the 2nd century CE to Pausanias, Briareus, one of the Hecatonchires, was the arbitrator in a dispute between Poseidonand Helios, between the sea and the sun: his verdict was that the Isthmus of Corinth belonged to Poseidon and the acropolis of Corinth (Acrocorinth) to Helios.
The Upper Pirene spring is located within the encircling walls. "The spring, which is behind the temple, they say was the gift of Asopus to Sisyphus. The latter knew, so runs the legend, that Zeus had ravished Aegina, the daughter of Asopus, but refused to give information to the seeker before he had a spring given him on the Acrocorinthus."

The painter 

Carl Anton Joseph Rottmann was a German landscape painter and the most famous member of the Rottmann family of painters. Rottmann belonged to the circle of artists around the Ludwig I of Bavaria, who commissioned large landscape paintings exclusively from him. He is best known for mythical and heroising landscapes. The landscape painter Karl Lindemann-Frommel belonged to his school. Rottmann  received his first drawing lessons from his father, Friedrich Rottmann, who taught drawing at the university in Heidelberg. He formed himself chiefly through the study of nature and of great masterworks. In his first artistic period, he painted atmospheric phenomena. After gaining prominence with Heidelberg at Sunset (a water color), and Castle Eltz, he settled in Munich in 1822 and devoted himself to Bavarian scenery. Here his second period began, and in 1824 he married Friedericke, the daughter of his uncle, Friedrich Ludwig von Sckell, who served as an attendant at court. Through this connection, he made the acquaintance of King Ludwig I of Bavaria, who in 1826/27 sponsored his travels in Italy in order to widen his repertoire, which up to that point consisted solely of domestic, German, landscapes. In Italy, Rottmann made sketches for the 28 Italian landscapes in fresco which he was commissioned to paint in the arcades of the Hofgarten at Munich. The cycle, completed in 1833, gave visual expression to Ludwig’s alliance with Italy, and raised the genre of landscape painting to the height of history painting, the preferred mode of the King’s other great commissions for monumental painting. The frescos unfortunately deteriorated under climatic influences. The cartoons for them are in the Darmstadt Gallery.

In 1834 Rottmann traveled to Greece to prepare for a commission from Ludwig for a second cycle; one might mark here the beginning of his third period. At first also intended for the Hofgarten arcade, the 23 great landscapes (of which the one above) were eventually installed in the newly built Neue Pinakothek where they were given their own hall.

MOUNT ATHOS (2) BY EDWARD LEAR

EDWARD LEAR (1812-1888) 

Mount Athos (2,033  m - 6,670 ft )

Greece

In Mount Athos and the monastery of Stavroniketes, oil on canvas, 

The mountain 

Mount Athos (2,033  m - 6,670 ft ) is a mountain and a peninsula in northeastern Greece and an important centre of Eastern Orthodox monasticism. It is governed as an autonomous polity within the Greek Republic under the official name Autonomous Monastic State of the Holy Mountain (Greek: Αὐτόνομη Μοναστικὴ Πολιτεία Ἁγίου Ὄρους). Mount Athos is home to 20 monasteries under the direct jurisdiction of the Ecumenical Patriarch of Constantinople.)

Mount Athos is commonly referred to in Greek as the "Holy Mountain" ( Ἅγιον Ὄρος) and the entity as the "Athonite State" (Αθωνική Πολιτεία). Other languages of orthodox tradition also use names translating to "Holy Mountain" (e.g. Bulgarian and Serbian, Russian, Georgian). In the classical era, while the mountain was called Athos, the peninsula was known as Akté (Ἀκτή).

Mount Athos has been inhabited since ancient times and is known for its nearly 1,800-year continuous Christian presence and its long historical monastic traditions, which date back to at least 800 A.D. and the Byzantine era. Today, over 2,000 monks from Greece and many other countries, including Eastern Orthodox countries such as Romania, Moldova, Georgia, Bulgaria, Serbia and Russia, live an ascetic life in Athos, isolated from the rest of the world. The Athonite monasteries feature a rich collection of well-preserved artifacts, rare books, ancient documents, and artworks of immense historical value, and Mount Athos has been listed as a World Heritage Site since 1988.

Although Mount Athos is technically part of the European Union like the rest of Greece, the status of the Monastic State of the Holy Mountain, and the jurisdiction of the Athonite institutions, were expressly described and ratified upon admission of Greece to the European Community. The free movement of people and goods in its territory is prohibited, unless formal permission is granted by the Monastic State's authorities, and only males are allowed to enter.

The painter 
Edward Lear was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as a illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes, and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.Edward Lear painted quite a number of canvas and watercolours on the Mount Athos subject (posted in this blog  )  

PARNASSUS BY EDWARD DODWELL

 Edward_Dodwell (1767-1832) - 

Parnassus (2, 457m - 8,061ft)

Greece

In Mont Parnassus, colored plate, 1821, from the series 30 Views in Greece, BNF Gallica

The mountain 

Parnassus or Mount Parnassus (2, 457m - 8,061ft), in greek Parnassos (Παρνασσός) which means "the mountain of the house of the god", is a mountain of limestone in central Greece that towers above Delphi, north of the Gulf of Corinth.  According to Greek mythology, this mountain was sacred to Dionysus and the Dionysian mysteries; it was also sacred to Apollo and the Corycian nymphs, and it was the home of the Muses. The mountain was also favored by the Dorians.  Parnassus is one of the largest mountainous regions of Mainland Greece and one of the highest Greek mountains. It spreads over three municipalities, namely of Boeotia, Phthiotis and Phocis, where its largest part lies. Its highest peak is Liakouras. 

This relation of the mountain to the Muses offered an instigation to its more recent "mystification", with the poetic-artistic trend of the 19th century called "Parnassism". The Parnassic movement was established in France in the decade 1866–1876 as a reaction to Romanticism with a return to some classicistic elements and belief in the doctrine "Art for the Art", first expressed by the poet Theophile Gautier. The periodical Modern Parnassus issued for the first time by Catul Mendes and Xavier Ricard contained direct references to Mount.Parnassus and its mythological feature as habitation of the Muses. The Parnassists, who did not exceed a group of twenty poets, exercised a relatively strong influence on the cultural life of Paris, particularly due to their tenacity on perfection of rhyme and vocabulary. Parnassism influenced several French poets, such as Baudelaire, but it also exercised an influence on Modern Greek poets, particularly Kostis Palamas and Gryparis.
The name of the mountain, (Mont Parnasse in french ), was also given to a quarter of Paris on the left banc of the Seine, where artists and poets used to gather. Montparnasse is nowadays one of the most renowned quarters of the city and in its cemetery many personalities of the arts and culture are buried.

The painter 
Edward Dodwell  was an Irish painter, traveller and a writer on archaeology.  Dodwell travelled from 1801 to 1806 in Greece, which was then a part of the Ottoman Empire, and spent the rest of his life for the most part in Italy, at Naples, and Rome. He died in Rome from the effects of an illness contracted in 1830 during a visit of exploration to the Sabine Mountains. Dodwell's widow, a daughter of Count Giraud, thirty years his junior, subsequently became famous as the "beautiful countess of Spaur", and played a considerable role in the political life of the papal city.
Dodwell published A Classical and Topographical Tour through Greece (1819), of which a German translation appeared in 1821; Views in Greece, with thirty colored plates (1821); and Views and Descriptions of Cyclopian or Pelasgic Remains in Italy and Greece (London and Paris, with French text, 1834).

PROFITIS ELIAS BY CARL ROTTMANN

CARL ROTTMANN (1797-1850)

Profitis Elias  / Mount Taygetus  (2,404m- 7,887ft)

Greece

In Mount Taygetus, oil on canvas

The mountain 

Profitis Elias (2,404m - 7,887ft) or "Prophet Elias", mentioned  in Antique Greece by Pausanias as Taleton is the highest summit of Mount Tageytus also called  Taugetus, Taygetos, a mountain range in the Peloponnese peninsula in Southern Greece. The name is one of the oldest recorded in Europe, appearing in the Odyssey.  In classical mythology, it was associated with the nymph Taygete. During Byzantine times and up until the 19th century, the mountain was also known as Pentadaktylos (Greek for five-fingered, a common name during that period). The Taygetus Massif is about 100 km (62 mi) long, extending from the center of the Peloponnese to Cape Matapan, its southernmost extremity.
The summit is an ultra prominent peak. It is prominent above the Isthmus of Corinth, which separating the Peloponnese from mainland Greece, rises only to approximately 60 m (200 ft). Numerous creeks wash down from the mountains and the Evrotas river has some of its headwaters in the northern part of the range. The western side of the massif houses the headwaters of the Viros gorge, which carries winter snowmelt down the mountain, emptying into the Messenian Gulf in the town of Kardamili.
The peak known as Taleton, above Bryseae, was 'dedicated' to Helios, the Sun, to whom horses were sacrificed. Taleton was also 'dedicated' to Zeus. Today, the mountain is closely associated with the holy Prophet Elias, and every year on the 20th of July (the Greek Orthodox name day for the Prophet Elias), the small chapel at the peak holds a large festival, including a massive bonfire in commemoration of the Prophet Elias, as he is believed to have ascended up into heaven in a chariot of fire. The bonfire can be seen from anywhere with clear view of the summit, and it is for this reason that the town of Kardamyli is a local gathering point for those who wish to view the fire without having to climb the mountain.
The slopes of Taygetus have been inhabited since at least Mycenean times. The site of Arkina, near the village of Arna, contains three beehive tombs and is still unexplored. Taygetus was important as one of Sparta's natural defenses. The Spartans threw criminals and "unfit" (weak, sickly, deformed, or mentally retarded) infants into a chasm of Taygetus known as Ceadas or Caeadas (Καιάδας). In antiquity, Spartan newborns were abandoned there if deemed unfit after examination for vitality. Recent evidence, found by the University of Athens, discovered remains of adult individuals which appeared to confirm that Ceadas was mainly a place of punishment for criminals, traitors and captives. During the era of barbarian invasions, Taygetus served as a shelter for the native population. Many of the villages in its slopes date from this period. In Medieval times, the citadel and monastery of Mystras was built on the steep slopes, and became a center of Byzantine civilizations and served as the capital of the Despotate of the Morea. Mystras remains occupied by a tiny religious community. The buildings are remarkably well-preserved and a major tourist attraction in the region.
 It is a UNESCO World Heritage Site.
The mountain is a popular hiking destination and is part of the European walking route E4. The view from the top includes most of the Evrotas valley and the Parnon range to the east, while the view towards the west includes Kalamata and the eastern half of Messenia. Most of the southwestern part of Arcadia can also be seen from the summit.

The painter 
Carl Anton Joseph Rottmann was a German landscape painter and the most famous member of the Rottmann family of painters. Rottmann belonged to the circle of artists around the Ludwig I of Bavaria, who commissioned large landscape paintings exclusively from him. He is best known for mythical and heroising landscapes. The landscape painter Karl Lindemann-Frommel belonged to his school. Rottmann  received his first drawing lessons from his father, Friedrich Rottmann, who taught drawing at the university in Heidelberg. He formed himself chiefly through the study of nature and of great masterworks. In his first artistic period, he painted atmospheric phenomena. After gaining prominence with Heidelberg at Sunset (a water color), and Castle Eltz, he settled in Munich in 1822 and devoted himself to Bavarian scenery. Here his second period began, and in 1824 he married Friedericke, the daughter of his uncle, Friedrich Ludwig von Sckell, who served as an attendant at court. Through this connection, he made the acquaintance of King Ludwig I of Bavaria, who in 1826/27 sponsored his travels in Italy in order to widen his repertoire, which up to that point consisted solely of domestic, German, landscapes. In Italy, Rottmann made sketches for the 28 Italian landscapes in fresco which he was commissioned to paint in the arcades of the Hofgarten at Munich. The cycle, completed in 1833, gave visual expression to Ludwig’s alliance with Italy, and raised the genre of landscape painting to the height of history painting, the preferred mode of the King’s other great commissions for monumental painting. The frescos unfortunately deteriorated under climatic influences. The cartoons for them are in the Darmstadt Gallery.
In 1834 Rottmann traveled to Greece to prepare for a commission from Ludwig for a second cycle; one might mark here the beginning of his third period. At first also intended for the Hofgarten arcade, the 23 great landscapes were eventually installed in the newly built Neue Pinakothek where they were given their own hall.

PARNASSUS PAINTED BY CARL ROTTMANN

CARL ROTTMANN (1797-1850),

Parnassus (2, 457m - 8,061ft)

Greece

In Sikyon mit Parnass, 1839, oil on canvas, Neue Pinakothek Munchen

The mountain 

Parnassus  or Mount Parnassus (2, 457m - 8,061ft), in greek Parnassos (Παρνασσός) which means "the mountain of the house of the god", is a mountain of limestone in central Greece that towers above Delphi, north of the Gulf of Corinth.  According to Greek mythology, this mountain was sacred to Dionysus and the Dionysian mysteries; it was also sacred to Apollo and the Corycian nymphs, and it was the home of the Muses. The mountain was also favored by the Dorians.  Parnassus is one of the largest mountainous regions of Mainland Greece and one of the highest Greek mountains. It spreads over three municipalities, namely of Boeotia, Phthiotis and Phocis, where its largest part lies. Its highest peak is Liakouras. 

This relation of the mountain to the Muses offered an instigation to its more recent "mystification", with the poetic-artistic trend of the 19th century called "Parnassism". The Parnassic movement was established in France in the decade 1866–1876 as a reaction to Romanticism with a return to some classicistic elements and belief in the doctrine "Art for the Art", first expressed by the poet Theophile Gautier. The periodical Modern Parnassus issued for the first time by Catul Mendes and Xavier Ricard contained direct references to Mount.Parnassus and its mythological feature as habitation of the Muses. The Parnassists, who did not exceed a group of twenty poets, exercised a relatively strong influence on the cultural life of Paris, particularly due to their tenacity on perfection of rhyme and vocabulary. Parnassism influenced several French poets, such as Baudelaire, but it also exercised an influence on Modern Greek poets, particularly Kostis Palamas and Gryparis.
The name of the mountain, (Mont Parnasse in french ), was also given to a quarter of Paris on the left banc of the Seine, where artists and poets used to gather. Montparnasse is nowadays one of the most renowned quarters of the city and in its cemetery many personalities of the arts and culture are buried.

The painter 
Carl Anton Joseph Rottmann was a German landscape painter and the most famous member of the Rottmann family of painters. Rottmann belonged to the circle of artists around the Ludwig I of Bavaria, who commissioned large landscape paintings exclusively from him. He is best known for mythical and heroising landscapes. The landscape painter Karl Lindemann-Frommel belonged to his school. Rottmann  received his first drawing lessons from his father, Friedrich Rottmann, who taught drawing at the university in Heidelberg. He formed himself chiefly through the study of nature and of great masterworks. In his first artistic period, he painted atmospheric phenomena. After gaining prominence with Heidelberg at Sunset (a water color), and Castle Eltz, he settled in Munich in 1822 and devoted himself to Bavarian scenery. Here his second period began, and in 1824 he married Friedericke, the daughter of his uncle, Friedrich Ludwig von Sckell, who served as an attendant at court. Through this connection, he made the acquaintance of King Ludwig I of Bavaria, who in 1826/27 sponsored his travels in Italy in order to widen his repertoire, which up to that point consisted solely of domestic, German, landscapes. In Italy, Rottmann made sketches for the 28 Italian landscapes in fresco which he was commissioned to paint in the arcades of the Hofgarten at Munich. The cycle, completed in 1833, gave visual expression to Ludwig’s alliance with Italy, and raised the genre of landscape painting to the height of history painting, the preferred mode of the King’s other great commissions for monumental painting. The frescos unfortunately deteriorated under climatic influences. The cartoons for them are in the Darmstadt Gallery.
In 1834 Rottmann traveled to Greece to prepare for a commission from Ludwig for a second cycle; one might mark here the beginning of his third period. At first also intended for the Hofgarten arcade, the 23 great landscapes were eventually installed in the newly built Neue Pinakothek where they were given their own hall.

MOUNT ATHOS (4 VIEWS) BY EDWARD LEAR

 EDWARD LEAR (1812-1888) 

Mount Athos (2,033  m - 6,670 ft )

Greece

1. In view of Mount Athos in a distance, 1848, oil

2.  In The Monastery of Stavroniketes, Mount Athos, 1861, oil

3.  In A distant view of Mount Athos, 1856, watercolor,
4.  In  The Monastery of Xenophontos, Mount Athos, 1856, watercolor 

The mountain 

Mount Athos (2,033  m - 6,670 ft ) is a mountain and a peninsula in northeastern Greece and an important centre of Eastern Orthodox monasticism. It is governed as an autonomous polity within the Greek Republic under the official name Autonomous Monastic State of the Holy Mountain (Greek: Αὐτόνομη Μοναστικὴ Πολιτεία Ἁγίου Ὄρους). Mount Athos is home to 20 monasteries under the direct jurisdiction of the Ecumenical Patriarch of Constantinople.)
Mount Athos is commonly referred to in Greek as the "Holy Mountain" ( Ἅγιον Ὄρος) and the entity as the "Athonite State" (Αθωνική Πολιτεία). Other languages of orthodox tradition also use names translating to "Holy Mountain" (e.g. Bulgarian and Serbian, Russian, Georgian). In the classical era, while the mountain was called Athos, the peninsula was known as Akté (Ἀκτή).
Mount Athos has been inhabited since ancient times and is known for its nearly 1,800-year continuous Christian presence and its long historical monastic traditions, which date back to at least 800 A.D. and the Byzantine era. Today, over 2,000 monks from Greece and many other countries, including Eastern Orthodox countries such as Romania, Moldova, Georgia, Bulgaria, Serbia and Russia, live an ascetic life in Athos, isolated from the rest of the world. The Athonite monasteries feature a rich collection of well-preserved artifacts, rare books, ancient documents, and artworks of immense historical value, and Mount Athos has been listed as a World Heritage Site since 1988.
Although Mount Athos is technically part of the European Union like the rest of Greece, the status of the Monastic State of the Holy Mountain, and the jurisdiction of the Athonite institutions, were expressly described and ratified upon admission of Greece to the European Community. The free movement of people and goods in its territory is prohibited, unless formal permission is granted by the Monastic State's authorities, and only males are allowed to enter.

The painter 
Edward Lear was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as a illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes, and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.
Lear was already drawing "for bread and cheese" by the time he was aged 16. (...)

Complete biography and others mountain paintings by Edward Lear already published in this blog 

MYTIKAS (MOUNT OLYMPUS) PAINTED BY EDWARD LEAR

EDWARD LEAR (1812-1888) 

Mytikas -Mount Olympus (2, 918 m- 9,573 ft)

Greece

Painted in 1849 - The MET, New York 

The mountain

Mount Olympus or Olympos, or Oros Olympos is the highest mountain in Greece and the second highest mountain in the Balkans.  Mount Olympus has 52 peaks, deep gorges, and exceptional biodiversity.  The highest peak Mytikas, meaning "nose", rises to 2,918 m -9,573 ft. It is one of the highest peaks in Europe in terms of topographic prominence.  It is located in the Olympus Range on the border between Thessaly and Macedonia, between the regional units of Pieria and Larissa, about 80 km (50 mi) southwest from Thessaloniki. 

There are multiple theories for the origin of the name Olympus. It has been suggested that it means "sky", "bright", "high" or "rock". One theory holds that Olympus is a prehellenic toponym that simply means "mountain". In Ottoman times, the Turkish name for the mountain was "Semavat Evi", meaning "sky house".

Olympus was notable in Greek mythology as the home of the  the Twelve Olympian gods, on the Mytikas peak.   It is the setting of many Greek mythical stories. The Twelve Olympian gods lived in the gorges, where there were also their palaces. Pantheon (today Mytikas) was their meeting place and theater of their stormy discussions. The Throne of Zeus (today Stefani) hosted solely him, the leader of the gods. From there he unleashed his thunderbolts, expressing his godly wrath. The Twelve Olympians were Zeus, Hera, Demeter, Poseidon, Athena, Apollo, Artemis, Aphrodite, Ares, Hermes, Hephaestus, and the twelfth was either Hestia or Dionysus.  In Pieria, on Olympus' northern foot, the mythological tradition had placed the nine Muses, patrons of the Fine Arts, daughters of Zeus and the Titanide Mnemosyne: Calliope (Epic Poetry), Clio (History), Erato (Love Poetry), Euterpe (Music), Melpomene, (Tragedy), Polyhymnia (Hymns), Terpsichore (Dance), Thalia (Comedy) and Urania (Astronomy).

Mount Olympus is also noted for its very rich flora with several species. It has been a National Park, the first in Greece, since 1938. It is also a World's Biosphere Reserve.

Every year thousands of people visit Olympus to admire its fauna and flora, to tour its slopes, and reach its peaks. Organized mountain refuges and various mountaineering and climbing routes are available to visitors who want to explore it. The usual starting point is the town of Litochoro, on the eastern foothills of the mountain, 100 km from Thessaloniki, where, in the beginning of every summer, the Olympus Marathon terminates.

Climbing 

Ancient Greeks likely never tried to climb Olympus' peaks Pantheon and the Throne of Zeus which they considered to be the Gods ' home. But surely they reached the nearest peak, nowadays called Aghios Antonios, from where they had a view of the two peaks and where they left offerings, as recent archaeological findings indicate. 

In the modern era, a series of explorers tried to study the mountain and to reach, unsuccessfully, its summit. Examples include the French archaeologist Leon Heuzey (1855), the German explorer Heinrich Barth (1862), and the German engineer Edward Richter. Richter tried to reach the summit in 1911 but was abducted by klephts, who also killed the Ottoman gendarmes that accompanied him.

On 2 August 1913,  just one year after the liberation of Greece from Ottoman rule,  the until then untrodden summit of Olympus was finally reached. The Swiss Frédéric Boissonnas and Daniel Baud-Bovy, aided by a hunter of wild goats from Litochoro, Christos Kakalos, were the first to reach Greece's highest peak.  Kakalos, who had much experience climbing Olympus, was the first of the three to climb Mytikas.  Afterwards and till his death (1976) he was the official guide of Olympus.

In 1921, he and Marcel Kurz reached the second highest summit of Olympus, Stefani.  Based on these explorations, Kurz in 1923 edited Le Mont Olympe, a book that includes the first detailed map of the summits.

 In 1928, the painter Vasilis Ithakisios climbed Olympus together with Kakalos, reaching a cave that he named Shelter of the Muses, and he spent many summers painting views of the mountain. Olympus was later photographed and mapped in detail by others, and a series of successful climbings and winter ascents of the steepest summits in difficult weather conditions took place.

Climbing Mount Olympus is a non-technical hike, except for the final section from the Skala summit to the Mytikas peak, which is a YDS class 3 rock scramble. It is estimated that 10,000 people climb Mount Olympus each year, most of them reaching only the Skolio summit. Most climbs of Mount Olympus start from the town of Litochoro, which took the name City of Gods because of its location at the foot of the mountain. From there a road goes to Prionia, where the hike begins at the bottom of the mountain.

Reference 

 - Mount Olympus in Encyclopedia Britannica 

The painter 

Edward Lear was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as a (minor) illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes, and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.

Lear was already drawing "for bread and cheese" by the time he was aged 16.

In 1842,  Lear began a journey into the Italian peninsula, travelling through

the Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, and Sicily.  In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. Of particular interest in Lear was the Abruzzo, which he visited in 1843, through the Marsica (Celano, Avezzano, Alba Fucens, Trasacco) and the plateau of Cinque Miglia (Castel di Sangro and Alfedena), by an old sheep track of the shepherds.

Among his travels, he visited Greece and Egypt during 1848–49, and toured India and Ceylon during 1873–75. While travelling he produced large quantities of coloured wash drawings in a distinctive style, which he converted later in his studio into oil and watercolour paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of colour.  Between 1878 and 1883 Lear spent his summers on Monte Generoso, a mountain on the border between the Swiss canton of Ticino and the Italian region of Lombardy.  His watercolor Mount Olympus dated 1849 in in the MET in New York City.  His oil painting The Plains of Lombardy from Monte Generoso is in the Ashmolean Museum Oxford (UK).
Reference 

- Edward Lear  /Wikipedia Page