MITREPEAK / RAHOTU SKETCHED BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)
Mitre Peak / Rahotu (1,683m - 5,522 ft)
New Zealand (South Island)

  In Milford sound, series of watercolours Milford Sounbdof, 1870

The mountain
Mitre Peak/ Rahotu (1,683m - 5,522 ft) is an iconic mountain in the South Island of New Zealand, located on the shore of Milford Sound. It is one of the most photographed peaks in the country. The distinctive shape of the peak in southern New Zealand gives the mountain its name, after the mitre headwear of Christian bishops. It was named by Captain John Lort Stokes of the HMS Acheron.
Part of the reason for its iconic status is its location. Close to the shore of Milford Sound, in the Fiordland National Park in the southwestern South Island, it is a stunning sight. The mountain rises near vertically from the water of Milford Sound, which technically is a fjord.
The peak is actually a closely grouped set of five peaks, with Mitre Peak not even the tallest one, however from most easily accessible viewpoints, Mitre Peak appears as a single point.
Milford Sound is part of Te Wahipounamu, a World Heritage Site as declared by UNESCO.
The only road access to Milford Sound is via State Highway 94, in itself one of the most scenic roads in New Zealand.


The Painter
John Barr Clark Hoyte was born in England, probably in London, the son of Samuel Hoyte, a landowner. His mother's name is not known, nor are any details of his childhood. From 1856 to 1859 he was employed as a planter in Demerara, Guyana, after which he returned to England. On 1860, at Leamington, Warwickshire, he married Rose Esther Elizabeth Parsons, daughter of an iron merchant. Within three months they sailed on the Egmont for Auckland, New Zealand, where they were to live for 16 years. Three daughters were born in Auckland, and the couple may also have had a son. A brother of John Hoyte emigrated to New Zealand, possibly in the 1870s.
Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. In January 1866 he exhibited views from Whangarei, Coromandel, Auckland, Waikato, the Wellington region and Nelson, although some of these pictures were not painted from the subject. In the 1870s he travelled each summer, progressively adding the thermal region, Taranaki, Nelson, Christchurch, Arthur's Pass, Banks Peninsula and Otago to his repertoire between 1872 and 1876.
His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
The success of the art unions of his work shows that the subjects he painted were in harmony with public taste. Despite the exceptional landscapes which appear so frequently in his production – geysers, the Pink and White Terraces, fiords, mountains and lakes – it appears that his preference was for a more gentle, picturesque mode of landscape art rather than the heightened tensions of the sublime. The Otago Guardian in 1876 described 'the aspect of repose which usually characterises Mr Hoyte's illustrations of native landscapes'. A comparison of Fiordland subjects painted by Hoyte and John Gully shows that Hoyte eschewed the manipulation of the viewer's emotions which the latter exploited so regularly. Even in his pastoral subjects Gully could be relied on to introduce an epic element which Hoyte usually avoided. Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

 
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2022 - Wandering Vertexes
Un blog de Francis Rousseau

MT MANAIA BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913) 

Mount Manaia (420m- 1,378ft)

New Zealand (North Island)

 In Mount Manaia- Whangarei Head, oil on canvas, 1890  

The mountain 
Mount Manaia   (420m- 1,378ft) is a dominant landmark approximately 30 kilometres southeast of Whangarei city on the Whangarei Heads peninsula.
The summit offers outstanding views of  Bream Bay and the Hauraki Gulf to the south, Whangarei Harbour to the west and the Poor Knights Islands and Northland coast to the north.
Mt Manaia - along with Mt Lion, Bream Head and the Hen and Chicken Islands, are the scattered remnants of a large, 50 kilometer diameter volcano that erupted with force 20 million years ago during the early miocene period. Its jagged outline is similar to that of its neighbours and other volcanic outcrops in Northland that erupted in a similar period.
Today blanketed by native bush, Manaia's jagged peaks and steep bluffs are protected within a Department of Conservation reserve which features a well-maintained 1½ hour track to the summit.

The Painter
John Barr Clark Hoyte was born in England, probably in London, Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.
__________________________________________
2019 - Wandering Vertexes...
by Francis Rousseau

MOUNT TARAWERA / PINK TERRACES BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)

Mount Tarawera (1, 111m - 3,645ft) 

New Zealand

In Mount Tarawera with Maori Figures Camping in the Foreground, oil on canvas

The mountain
Mount Tarawera (1, 111m - 3,645ft) is the volcano responsible for one of New Zealand's largest historic eruptions. Located 24 kilometres southeast of Rotorua in the North Island, it consists of a series of rhyolitic lava domes that were fissured down the middle by an explosive basaltic eruption in 1886, which killed an estimated 120 people. These fissures run for about 17 kilometres northeast-southwest.
The volcano's component domes include Ruawahia Dome, Tarawera Dome and Wahanga Dome. It is surrounded by several lakes, most of which were created or drastically altered by the 1886 eruption. These lakes include Lakes Tarawera, Rotomahana, Rerewhakaaitu, Okataina, Okareka, Tikitapu (Blue Lake) and Rotokakahi (Green Lake). The Tarawera River runs northeastwards across the northern flank of the mountain from Lake Tarawera.
One legend surrounding the 1886 eruption is that of the phantom canoe. Eleven days before the eruption, a boat full of tourists returning from the Terraces saw what appeared to be a war canoe approach their boat, only to disappear in the mist half a mile from them. One of the witnesses was a clergyman, a local Maori man from the Te Arawa iwi. Nobody around the lake owned such a war canoe, and nothing like it had been seen on the lake for many years. It is possible that the rise and fall of the lake level caused by pre eruption fissures had freed a burial waka (canoe) from its resting place. Traditionally dead chiefs were tied in an upright position. A number of letters have been published from the tourists who experienced the event.
Though skeptics maintained that it was a freak reflection seen on the mist, tribal elders at Te Wairoa claimed that it was a waka wairua (spirit canoe) and was a portent of doom. It has been suggested that the waka was actually a freak wave on the water, caused by seismic activity below the lake, but locals believe that a future eruption will be signaled by the reappearance of the canoe.

The Painter
John Barr Clark Hoyte was born in England, probably in London, Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.
__________________________________________

2019 - Wandering Vertexes...
by Francis Rousseau

MITRE PEAK / RAHOTU BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)

Mitre Peak / Rahotu (1,683m - 5,522 ft) 

New Zealand (South Island)

2. In Mitre Peak from Milford Sound, watercolour, 1870 

About the works
During his years in New Zealand, from 1860 to 1879, John Barr Clark Hoyte travelled around the country searching for dramatic landscapes to paint.
The watercolours of Mitre Peak are thought to date from the 1870s.

The mountain
Mitre Peak/ Rahotu (1,683m - 5,522 ft) is an iconic mountain in the South Island of New Zealand, located on the shore of Milford Sound. It is one of the most photographed peaks in the country. The distinctive shape of the peak in southern New Zealand gives the mountain its name, after the mitre headwear of Christian bishops. It was named by Captain John Lort Stokes of the HMS Acheron.
Part of the reason for its iconic status is its location. Close to the shore of Milford Sound, in the Fiordland National Park in the southwestern South Island, it is a stunning sight. The mountain rises near vertically from the water of Milford Sound, which technically is a fjord.
The peak is actually a closely grouped set of five peaks, with Mitre Peak not even the tallest one, however from most easily accessible viewpoints, Mitre Peak appears as a single point.
Milford Sound is part of Te Wahipounamu, a World Heritage Site as declared by UNESCO.
The only road access to Milford Sound is via State Highway 94, in itself one of the most scenic roads in New Zealand.
Climbing
Mitre Peak is difficult to climb and not many people do so. The first attempt was made in 1883, but was aborted due to bad weather. The next attempt was on 13 March 1911 by JR Dennistoun from Peel Forest. People did not believe Dennistoun, who claimed to have built a cairn on the peak to which he had fixed his handkerchief. Those facts were confirmed by the next successful climbers in 1914. There are six routes up to Mitre Peak, and most climbers start by getting a boat to Sinbad Bay.

The painter
John Barr Clark Hoyte was born in England, probably in London, the son of Samuel Hoyte, a landowner. His mother's name is not known, nor are any details of his childhood. From 1856 to 1859 he was employed as a planter in Demerara, Guyana, after which he returned to England. On 1860, at Leamington, Warwickshire, he married Rose Esther Elizabeth Parsons, daughter of an iron merchant. Within three months they sailed on the Egmont for Auckland, New Zealand, where they were to live for 16 years. Three daughters were born in Auckland, and the couple may also have had a son. A brother of John Hoyte emigrated to New Zealand, possibly in the 1870s.
Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. In January 1866 he exhibited views from Whangarei, Coromandel, Auckland, Waikato, the Wellington region and Nelson, although some of these pictures were not painted from the subject. In the 1870s he travelled each summer, progressively adding the thermal region, Taranaki, Nelson, Christchurch, Arthur's Pass, Banks Peninsula and Otago to his repertoire between 1872 and 1876.
His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
The success of the art unions of his work shows that the subjects he painted were in harmony with public taste. Despite the exceptional landscapes which appear so frequently in his production – geysers, the Pink and White Terraces, fiords, mountains and lakes – it appears that his preference was for a more gentle, picturesque mode of landscape art rather than the heightened tensions of the sublime. The Otago Guardian in 1876 described 'the aspect of repose which usually characterises Mr Hoyte's illustrations of native landscapes'. A comparison of Fiordland subjects painted by Hoyte and John Gully shows that Hoyte eschewed the manipulation of the viewer's emotions which the latter exploited so regularly. Even in his pastoral subjects Gully could be relied on to introduce an epic element which Hoyte usually avoided. Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

___________________________________________

2019 - Wandering Vertexes...

by Francis Rousseau 

RAHOTU / MITRE PEAK BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)

Mitre Peak / Rahotu (1,683m - 5,522 ft) 

New Zealand (South Island)

In Mitre Peak, 1870 , watercolour, 1870 

About the works
During his years in New Zealand, from 1860 to 1879, John Barr Clark Hoyte travelled around the country searching for dramatic landscapes to paint.
The numerous watercolours of Mitre Peak he painted are thought to date from the 1870s.

The mountain
Mitre Peak/ Rahotu (1,683m - 5,522 ft) is an iconic mountain in the South Island of New Zealand, located on the shore of Milford Sound. It is one of the most photographed peaks in the country. The distinctive shape of the peak in southern New Zealand gives the mountain its name, after the mitre headwear of Christian bishops. It was named by Captain John Lort Stokes of the HMS Acheron.
Part of the reason for its iconic status is its location. Close to the shore of Milford Sound, in the Fiordland National Park in the southwestern South Island, it is a stunning sight. The mountain rises near vertically from the water of Milford Sound, which technically is a fjord.
The peak is actually a closely grouped set of five peaks, with Mitre Peak not even the tallest one, however from most easily accessible viewpoints, Mitre Peak appears as a single point.
Milford Sound is part of Te Wahipounamu, a World Heritage Site as declared by UNESCO.
The only road access to Milford Sound is via State Highway 94, in itself one of the most scenic roads in New Zealand.

The Painter
John Barr Clark Hoyte was born in England, probably in London, the son of Samuel Hoyte, a landowner. His mother's name is not known, nor are any details of his childhood. From 1856 to 1859 he was employed as a planter in Demerara, Guyana, after which he returned to England. On 1860, at Leamington, Warwickshire, he married Rose Esther Elizabeth Parsons, daughter of an iron merchant. Within three months they sailed on the Egmont for Auckland, New Zealand, where they were to live for 16 years. Three daughters were born in Auckland, and the couple may also have had a son. A brother of John Hoyte emigrated to New Zealand, possibly in the 1870s.
Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. In January 1866 he exhibited views from Whangarei, Coromandel, Auckland, Waikato, the Wellington region and Nelson, although some of these pictures were not painted from the subject. In the 1870s he travelled each summer, progressively adding the thermal region, Taranaki, Nelson, Christchurch, Arthur's Pass, Banks Peninsula and Otago to his repertoire between 1872 and 1876.
His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
The success of the art unions of his work shows that the subjects he painted were in harmony with public taste. Despite the exceptional landscapes which appear so frequently in his production – geysers, the Pink and White Terraces, fiords, mountains and lakes – it appears that his preference was for a more gentle, picturesque mode of landscape art rather than the heightened tensions of the sublime. The Otago Guardian in 1876 described 'the aspect of repose which usually characterises Mr Hoyte's illustrations of native landscapes'. A comparison of Fiordland subjects painted by Hoyte and John Gully shows that Hoyte eschewed the manipulation of the viewer's emotions which the latter exploited so regularly. Even in his pastoral subjects Gully could be relied on to introduce an epic element which Hoyte usually avoided. Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

___________________________________________

2019 - Wandering Vertexes...

by Francis Rousseau 

MOUNT ROLLESTON BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)

Mount Rolleston  (2,271m - 7,451ft)

New Zealand (South Island) 

The mountain 

Mount Rolleston (2,271m - 7,451ft) is a prominent peak in Arthur's Pass National Park in the South Island of New Zealand. It was named by the surveyor Arthur Dudley Dobson in 1864, who observed the peak while searching for a route through the Southern Alps to the West Coast gold fields. The name honours the then Superintendent of the Canterbury Province, William Rolleston.

While not the highest mountain in the National Park, it is well known because it can be viewed from State Highway 73 that runs through Arthur's Pass to the West Coast of the South Island. It is also popular with climbers, as it can be climbed in a day starting from Arthur's Pass township. Mount Rolleston was first climbed in 1912 by climbers H. Thomson and J. Gilligan. 

Mount Rolleston can be climbed via several routes, including the Rome or Goldney Ridges,  the latter of which allows access to Otira Slide, which in winter can be descended by skis.

The upper slopes of Mount Rolleston are the headwaters of several rivers, most notably the Waimakariri and several tributaries of the Otira.

The painter 
John Barr Clark Hoyte was born in England, probably in London,  Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit.   His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

________________________________
2019 - Wandering Vertexes...
by Francis Rousseau 

RANGITOTO VOLCANO BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913), 

Rangitoto volcano   (260 m - 850 ft)

New Zealand (Rangitoto Island) 

 In Mount Ragitoto from St Georges' Bays Auckland, 1860, wash drawings,

 Alexander Turnbull Library 

The volcano

Rangitoto volcano   (260 m - 850 ft)  is a shield volcano  with a symetrical cone  situauted inthe center of  is a volcanic island in the Hauraki Gulf near Auckland, New Zealand. The 5.5 km wide island is an iconic and widely visible landmark of Auckland.  Rangitoto is the most recent and the largest (2311 hectares) of the approximately 50 volcanoes of the Auckland volcanic field.  It is separated from the mainland of Auckland's North Shore by the Rangitoto Channel. Since World War II, it has been linked by a causeway to the much older, non-volcanic Motutapu Island.

Rangitoto is Māori for  Bloody Sky, with the name coming from the full phrase Ngā Rangi-i-totongia-a Tama-te-kapua ("The days of the bleeding of Tama-te-kapua"). Tama-te-kapua was the captain of the Arawa waka (canoe) and was badly wounded on the island, after having lost a battle with the Tainui iwi (tribe) at Islington Bay.

The Painter 

John Barr Clark Hoyte was born in England, probably in London,  Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.

During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit.   His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.

Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

2019 - Wandering Vertexes...

by Francis Rousseau 

MOUNT TARAWERA / PINK TERRACES BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)

Mount Tarawera (1, 111m - 3,645ft) 

 New Zealand

In The pink terraces, Mount Tarawera, oil on canvas

The mountain 
Mount Tarawera (1, 111m - 3,645ft) is the volcano responsible for one of New Zealand's largest historic eruptions. Located 24 kilometres southeast of Rotorua in the North Island, it consists of a series of rhyolitic lava domes that were fissured down the middle by an explosive basaltic eruption in 1886, which killed an estimated 120 people. These fissures run for about 17 kilometres northeast-southwest.
The volcano's component domes include Ruawahia Dome, Tarawera Dome and Wahanga Dome. It is surrounded by several lakes, most of which were created or drastically altered by the 1886 eruption. These lakes include Lakes Tarawera, Rotomahana, Rerewhakaaitu, Okataina, Okareka, Tikitapu (Blue Lake) and Rotokakahi (Green Lake). The Tarawera River runs northeastwards across the northern flank of the mountain from Lake Tarawera.
Main eruptions 
- 1315 : Mount Tarawera erupted for the fist time on modern history. The ash thrown from this event may have affected temperatures around the globe and precipitated the Great Famine of 1315–17 in Europe.
- 1886 : Shortly after midnight on the morning of 10 June 1886, a series of more than 30 increasingly strong earthquakes were felt in the Rotorua area and an unusual sheet lightning display was observed from the direction of Tarawera. At around 2:00 am a larger earthquake was felt and followed by the sound of an explosion. By 2:30 am Mount Tarawera's three peaks had erupted, blasting three distinct columns of smoke and ash thousands of metres into the sky (see painting above). At around 3.30 am, the largest phase of the eruption commenced; vents at Rotomahana produced a pyroclastic surge that destroyed several villages within a 6 kilometre radius, and the Pink and White Terraces appeared to be obliterated.
The eruption was heard clearly as far away as Blenheim and the effects of the ash in the air were observed as far south as Christchurch, over 800 km away. In Auckland the sound of the eruption and the flashing sky was thought by some to be an attack by Russian warships.
Although the official contemporary death toll was 153, exhaustive research by physicist Ron Keam only identified 108 people killed by the eruption. Much of the discrepancy was due to misspelled names and other duplications. Allowing for some unnamed and unknown victims, he estimated that the true death toll was 120 at most.  Some people claim that many more people died.
The eruption also buried many Māori villages, including Te Wairoa which has now become a tourist attraction (Buried Village of Te Wairoa) and the world-famous Pink and White Terraces were lost. A small portion of the Pink Terraces was rediscovered under Lake Rotomahana 125 years later. Approximately 2 cubic kilometres of tephra was erupted, more than Mount St. Helens ejected in 1980. Many of the lakes surrounding the mountain had their shapes and areas dramatically altered, especially the eventual enlargement of Lake Rotomahana, the largest crater involved in the eruption, as it re-filled with water.
Legend
One legend surrounding the 1886 eruption is that of the phantom canoe. Eleven days before the eruption, a boat full of tourists returning from the Terraces saw what appeared to be a war canoe approach their boat, only to disappear in the mist half a mile from them. One of the witnesses was a clergyman, a local Maori man from the Te Arawa iwi. Nobody around the lake owned such a war canoe, and nothing like it had been seen on the lake for many years. It is possible that the rise and fall of the lake level caused by pre eruption fissures had freed a burial waka (canoe) from its resting place. Traditionally dead chiefs were tied in an upright position. A number of letters have been published from the tourists who experienced the event.
Though skeptics maintained that it was a freak reflection seen on the mist, tribal elders at Te Wairoa claimed that it was a waka wairua (spirit canoe) and was a portent of doom. It has been suggested that the waka was actually a freak wave on the water, caused by seismic activity below the lake, but locals believe that a future eruption will be signaled by the reappearance of the canoe.

The Painter 
John Barr Clark Hoyte was born in England, probably in London,  Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit.   His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

2019 - Wandering Vertexes...

by Francis Rousseau 

TARANAKI / MOUNT EGMONT BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)

Mount Taranaki / Mount Egmont  (2,518 m - 8,261 ft) 

New Zealand (North Island) 

In  Mount Egmont, Taranaki, watercolor  Alexander Turnbull Library 

The mountain 
Taranaki / Mount Egmont  (2,518 m - 8,261 ft) is an active but quiescent stratovolcano in the Taranaki region on the west coast of New Zealand's North Island.
According to Māori mythology, Taranaki once resided in the middle of the North Island, with all the other New Zealand volcanoes. The beautiful Pihanga was coveted by all the mountains, and a great battle broke out between them. Tongariro eventually won the day, inflicted great wounds on the side of Taranaki, and causing him to flee. Taranaki headed westwards, following Te Toka a Rahotu and forming the deep gorges of the Whanganui River, paused for a while, creating the depression that formed the Te Ngaere swamp, then heading north. Further progress was blocked by the Pouakai ranges, and as the sun came up Taranaki became petrified in his current location. When Taranaki conceals himself with rainclouds, he is said to be crying for his lost love, and during spectacular sunsets, he is said to be displaying himself to her. In turn, Tongariro's eruptions are said to be a warning to Taranaki not to return.
Captain Cook named it Mount Egmont on 11 January 1770 after John Perceval, 2nd Earl of Egmont, a former First Lord of the Admiralty who had supported the concept of an oceanic search for Terra Australis Incognita. Cook described it as "of a prodigious height and its top cover'd with everlasting snow" surrounded by a "flat country ... which afforded a very good aspect, being clothed with wood and verdure".

The Painter 
John Barr Clark Hoyte was born in England, probably in London,  Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit.   His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

2018 - Wandering Vertexes...
by Francis Rousseau 

MITREPEAK/ RAHOTU BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)

 Mitre Peak / Rahotu  (1,683m -  5,522 ft) 

New Zealand (South Island)

1.  In Milford sound, series of watercolours  Milford Sounbdof, 1870

The mountain 

Mitre Peak/ Rahotu  (1,683m -  5,522 ft) is an iconic mountain in the South Island of New Zealand, located on the shore of Milford Sound. It is one of the most photographed peaks in the country. The distinctive shape of the peak in southern New Zealand gives the mountain its name, after the mitre headwear of Christian bishops. It was named by Captain John Lort Stokes of the HMS Acheron. 

Part of the reason for its iconic status is its location. Close to the shore of Milford Sound, in the Fiordland National Park in the southwestern South Island, it is a stunning sight.  The mountain rises near vertically from the water of Milford Sound, which technically is a fjord.

The peak is actually a closely grouped set of five peaks, with Mitre Peak not even the tallest one, however from most easily accessible viewpoints, Mitre Peak appears as a single point.

 Milford Sound is part of Te Wahipounamu, a World Heritage Site as declared by UNESCO.

The only road access to Milford Sound is via State Highway 94, in itself one of the most scenic roads in New Zealand.

The Painter 

John Barr Clark Hoyte was born in England, probably in London,  the son of Samuel Hoyte, a landowner. His mother's name is not known, nor are any details of his childhood. From 1856 to 1859 he was employed as a planter in Demerara, Guyana, after which he returned to England. On 1860, at Leamington, Warwickshire, he married Rose Esther Elizabeth Parsons, daughter of an iron merchant. Within three months they sailed on the Egmont for Auckland, New Zealand, where they were to live for 16 years. Three daughters were born in Auckland, and the couple may also have had a son. A brother of John Hoyte emigrated to New Zealand, possibly in the 1870s.

Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.

During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. In January 1866 he exhibited views from Whangarei, Coromandel, Auckland, Waikato, the Wellington region and Nelson, although some of these pictures were not painted from the subject. In the 1870s he travelled each summer, progressively adding the thermal region, Taranaki, Nelson, Christchurch, Arthur's Pass, Banks Peninsula and Otago to his repertoire between 1872 and 1876.

His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.

The success of the art unions of his work shows that the subjects he painted were in harmony with public taste. Despite the exceptional landscapes which appear so frequently in his production – geysers, the Pink and White Terraces, fiords, mountains and lakes – it appears that his preference was for a more gentle, picturesque mode of landscape art rather than the heightened tensions of the sublime. The Otago Guardian in 1876 described 'the aspect of repose which usually characterises Mr Hoyte's illustrations of native landscapes'. A comparison of Fiordland subjects painted by Hoyte and John Gully shows that Hoyte eschewed the manipulation of the viewer's emotions which the latter exploited so regularly. Even in his pastoral subjects Gully could be relied on to introduce an epic element which Hoyte usually avoided. Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

MITRE PEAK / RAHOTU BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)

 Mitre Peak / Rahotu  (1,683m -  5,522 ft) 

New Zealand (South Island)

1.  In Milford sound, watercolour, 1870  

The mountain 

Mitre Peak/ Rahotu  (1,683m -  5,522 ft) is an iconic mountain in the South Island of New Zealand, located on the shore of Milford Sound. It is one of the most photographed peaks in the country. The distinctive shape of the peak in southern New Zealand gives the mountain its name, after the mitre headwear of Christian bishops. It was named by Captain John Lort Stokes of the HMS Acheron. 

Part of the reason for its iconic status is its location. Close to the shore of Milford Sound, in the Fiordland National Park in the southwestern South Island, it is a stunning sight.  The mountain rises near vertically from the water of Milford Sound, which technically is a fjord.

The peak is actually a closely grouped set of five peaks, with Mitre Peak not even the tallest one, however from most easily accessible viewpoints, Mitre Peak appears as a single point.

 Milford Sound is part of Te Wahipounamu, a World Heritage Site as declared by UNESCO.

The only road access to Milford Sound is via State Highway 94, in itself one of the most scenic roads in New Zealand.

Climbing

Mitre Peak is difficult to climb and not many people do so.  The first attempt was made in 1883, but was aborted due to bad weather. The next attempt was on 13 March 1911 by JR Dennistoun from Peel Forest. People did not believe Dennistoun, who claimed to have built a cairn on the peak to which he had fixed his handkerchief. Those facts were confirmed by the next successful climbers in 1914. There are six routes up to Mitre Peak, and most climbers start by getting a boat to Sinbad Bay.

The Painter 

John Barr Clark Hoyte was born in England, probably in London,  the son of Samuel Hoyte, a landowner. His mother's name is not known, nor are any details of his childhood. From 1856 to 1859 he was employed as a planter in Demerara, Guyana, after which he returned to England. On 1860, at Leamington, Warwickshire, he married Rose Esther Elizabeth Parsons, daughter of an iron merchant. Within three months they sailed on the Egmont for Auckland, New Zealand, where they were to live for 16 years. Three daughters were born in Auckland, and the couple may also have had a son. A brother of John Hoyte emigrated to New Zealand, possibly in the 1870s.
Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. In January 1866 he exhibited views from Whangarei, Coromandel, Auckland, Waikato, the Wellington region and Nelson, although some of these pictures were not painted from the subject. In the 1870s he travelled each summer, progressively adding the thermal region, Taranaki, Nelson, Christchurch, Arthur's Pass, Banks Peninsula and Otago to his repertoire between 1872 and 1876.
His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
The success of the art unions of his work shows that the subjects he painted were in harmony with public taste. Despite the exceptional landscapes which appear so frequently in his production – geysers, the Pink and White Terraces, fiords, mountains and lakes – it appears that his preference was for a more gentle, picturesque mode of landscape art rather than the heightened tensions of the sublime. The Otago Guardian in 1876 described 'the aspect of repose which usually characterises Mr Hoyte's illustrations of native landscapes'. A comparison of Fiordland subjects painted by Hoyte and John Gully shows that Hoyte eschewed the manipulation of the viewer's emotions which the latter exploited so regularly. Even in his pastoral subjects Gully could be relied on to introduce an epic element which Hoyte usually avoided. Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

MT ARTHUR/ TUAO WHAREPAPA BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913) 

Mount Arthur / Tuao Wharepapa  (1,795 m- 5,889 ft) 

New Zealand (South Island) 

 In Mt Arhur New Zealand, watercolour, 1877

The mountain
Mount Arthur / Tuao Wharepapa  (1,795m- 5,889ft) is in the Arthur Range in the north western area of the South Island of New Zealand, within Kahurangi National Park. Mount Arthur is named after Captain Arthur Wakefield. Mt Arthur is made of hard, crystalline marble, transformed from limestone, originally laid down under the sea some 450 million years ago. Below ground are some of the deepest shafts and most intricate cave systems in the country, and exploration of these is far from finished. Mount Arthur is home to the Ellis Basin cave system, the deepest cave in the Southern Hemisphere, and Nettlebed Cave which was thought to be the deepest cave system the Southern Hemisphere prior to discovery of the Ellis Basin cave system in 2010. During the ice ages small glaciers carved smooth basins called 'cirques' high on Mt Arthur, polishing and scraping the tough marble. The floors of the cirques are studded with sinkholes where surface water is taken underground into extensive cave systems.

The painter 
John Barr Clark Hoyte was born in England, probably in London,  the son of Samuel Hoyte, a landowner. His mother's name is not known, nor are any details of his childhood. From 1856 to 1859 he was employed as a planter in Demerara, Guyana, after which he returned to England. On 1860, at Leamington, Warwickshire, he married Rose Esther Elizabeth Parsons, daughter of an iron merchant. Within three months they sailed on the Egmont for Auckland, New Zealand, where they were to live for 16 years. Three daughters were born in Auckland, and the couple may also have had a son. A brother of John Hoyte emigrated to New Zealand, possibly in the 1870s.
Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. In January 1866 he exhibited views from Whangarei, Coromandel, Auckland, Waikato, the Wellington region and Nelson, although some of these pictures were not painted from the subject. In the 1870s he travelled each summer, progressively adding the thermal region, Taranaki, Nelson, Christchurch, Arthur's Pass, Banks Peninsula and Otago to his repertoire between 1872 and 1876.
His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
The success of the art unions of his work shows that the subjects he painted were in harmony with public taste. Despite the exceptional landscapes which appear so frequently in his production – geysers, the Pink and White Terraces, fiords, mountains and lakes – it appears that his preference was for a more gentle, picturesque mode of landscape art rather than the heightened tensions of the sublime. The Otago Guardian in 1876 described 'the aspect of repose which usually characterises Mr Hoyte's illustrations of native landscapes'. A comparison of Fiordland subjects painted by Hoyte and John Gully shows that Hoyte eschewed the manipulation of the viewer's emotions which the latter exploited so regularly. Even in his pastoral subjects Gully could be relied on to introduce an epic element which Hoyte usually avoided. Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

MITRE PEAK / RAHOTU BY JOHN BARR CLARK HOYTE

 JOHN BARR CLARK HOYTE (1835-1913)

 Mitre Peak / Rahotu  (1,683m -  5,522 ft) 

New Zealand (South Island)

1.  In Mitre Peak, 1870 , watercolour, 1870  

2.  In Mitre Peak from Milford Sound, watercolour 1870

About the works 

During his years in New Zealand, from 1860 to 1879, John Barr Clark Hoyte travelled around the country searching for dramatic landscapes to paint.
The watercolours of Mitre Peak are thought to date from the 1870s.

The mountain 

Mitre Peak/ Rahotu  (1,683m -  5,522 ft) is an iconic mountain in the South Island of New Zealand, located on the shore of Milford Sound. It is one of the most photographed peaks in the country. The distinctive shape of the peak in southern New Zealand gives the mountain its name, after the mitre headwear of Christian bishops. It was named by Captain John Lort Stokes of the HMS Acheron. 

Part of the reason for its iconic status is its location. Close to the shore of Milford Sound, in the Fiordland National Park in the southwestern South Island, it is a stunning sight.  The mountain rises near vertically from the water of Milford Sound, which technically is a fjord.

The peak is actually a closely grouped set of five peaks, with Mitre Peak not even the tallest one, however from most easily accessible viewpoints, Mitre Peak appears as a single point.

 Milford Sound is part of Te Wahipounamu, a World Heritage Site as declared by UNESCO.

The only road access to Milford Sound is via State Highway 94, in itself one of the most scenic roads in New Zealand.

Climbing

Mitre Peak is difficult to climb and not many people do so.  The first attempt was made in 1883, but was aborted due to bad weather. The next attempt was on 13 March 1911 by JR Dennistoun from Peel Forest. People did not believe Dennistoun, who claimed to have built a cairn on the peak to which he had fixed his handkerchief. Those facts were confirmed by the next successful climbers in 1914. There are six routes up to Mitre Peak, and most climbers start by getting a boat to Sinbad Bay.

The Painter 

John Barr Clark Hoyte was born in England, probably in London,  the son of Samuel Hoyte, a landowner. His mother's name is not known, nor are any details of his childhood. From 1856 to 1859 he was employed as a planter in Demerara, Guyana, after which he returned to England. On 1860, at Leamington, Warwickshire, he married Rose Esther Elizabeth Parsons, daughter of an iron merchant. Within three months they sailed on the Egmont for Auckland, New Zealand, where they were to live for 16 years. Three daughters were born in Auckland, and the couple may also have had a son. A brother of John Hoyte emigrated to New Zealand, possibly in the 1870s.
Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. In January 1866 he exhibited views from Whangarei, Coromandel, Auckland, Waikato, the Wellington region and Nelson, although some of these pictures were not painted from the subject. In the 1870s he travelled each summer, progressively adding the thermal region, Taranaki, Nelson, Christchurch, Arthur's Pass, Banks Peninsula and Otago to his repertoire between 1872 and 1876.
His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
The success of the art unions of his work shows that the subjects he painted were in harmony with public taste. Despite the exceptional landscapes which appear so frequently in his production – geysers, the Pink and White Terraces, fiords, mountains and lakes – it appears that his preference was for a more gentle, picturesque mode of landscape art rather than the heightened tensions of the sublime. The Otago Guardian in 1876 described 'the aspect of repose which usually characterises Mr Hoyte's illustrations of native landscapes'. A comparison of Fiordland subjects painted by Hoyte and John Gully shows that Hoyte eschewed the manipulation of the viewer's emotions which the latter exploited so regularly. Even in his pastoral subjects Gully could be relied on to introduce an epic element which Hoyte usually avoided. Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.