EIGER, MÖNCH & JUNGRAU PEINTS PAR FERDINAND HODLER

 

FERDINAND HODLER (1853-1918)

La Jungfrau (4,158 m - 13, 642 ft)  

Le  Mönch (4,107 m - 13,474 ft)

L'Eiger (3,970 m -13,020 ft)

Suisse

In  L’Eiger, le Mönch et la Jungfrau vus de Beatenberg aus, 1910, 1910, collection privée

Les montagnes
Le Mönch (4 107 m) (Le Moine) est une montagne des Alpes bernoises, en Suisse. Le Mönch se situe à la frontière entre les cantons du Valais et de Berne et fait partie d'une crête montagneuse entre la Jungfrau et le Jungfraujoch à l'ouest et l'Eiger à l'est. Le versant nord du Mönch forme un mur en escalier au-dessus de la vallée de Lauterbrunnen. Le tunnel ferroviaire de la Jungfrau passe juste sous le sommet, à une altitude d'environ 3 300 mètres (10 830 pieds). Le sommet a été escaladé pour la première fois il y a 159 ans en 1857 le 15 août, par Christian Almer, Christian Kaufmann, Ulrich Kaufmann et Sigismund Porges.

L'Eiger (3 970 m) est situé dans les Alpes bernoises, surplombant Grindelwald et Lauterbrunnen dans l'Oberland bernois, juste au nord du bassin versant principal et à la frontière avec le Valais. C'est le sommet le plus à l'est d'une crête qui s'étend à travers le Mönch jusqu'à la Jungfrau à (4 158 m-13 642 ft), constituant l'un des sites les plus emblématiques des Alpes suisses. La caractéristique la plus remarquable de l'Eiger est sa face nord de roche et de glace de 1 800 mètres de haut - 5 900 pieds, appelée Eigerwand ou Nordwand, qui est la plus grande face nord des Alpes. Cette immense face domine la station de Kleine Scheidegg à sa base, sur le col homonyme reliant les deux vallées.
La première ascension de l'Eiger a été réalisée par les guides suisses Christian Almer et Peter Bohren et l'Irlandais Charles Barrington, qui ont escaladé le flanc ouest le 11 août 1858.

 

La Jungfrau (4'158 m ) ("La Vierge" en allemand) est l'un des principaux sommets des Alpes bernoises, situé entre le canton nord de Berne et le canton sud du Valais, à mi-chemin entre Interlaken et Fiesch. Avec l'Eiger et le Mönch, la Jungfrau forme un mur massif surplombant l'Oberland bernois et le plateau suisse, l'un des sites les plus distinctifs des Alpes suisses. C'est l'un des sommets les plus représentés par les artistes avec le Cervin et le Mont Blanc. Le sommet a été atteint pour la première fois le 3 août 1811 par les frères Meyer d'Aarau et deux chasseurs de chamois du Valais. L'ascension fait suite à une longue expédition sur les glaciers et les hauts cols des Alpes bernoises. Ce n'est qu'en 1865 qu'une route plus directe côté nord est ouverte. La construction du chemin de fer de la Jungfrau au début du XXe siècle, qui relie Kleine Scheidegg au Jungfraujoch, la selle entre le Mönch et la Jungfrau, a fait de la région l'un des endroits les plus visités des Alpes. Avec le glacier d'Aletsch au sud, la Jungfrau fait partie de la région Jungfrau-Aletsch, qui a été déclarée site du patrimoine mondial en 2001.

Le peintre
Ferdinand Hodler était l'un des peintres suisses les plus connus du XIXe siècle. Ses premières œuvres étaient des portraits, des paysages et des peintures de genre dans un style réaliste. Plus tard, il adopta une forme personnelle de symbolisme qu'il appela Parallélisme.
Au cours de la dernière décennie du 19e siècle, son travail a évolué pour combiner les influences de plusieurs genres, dont le symbolisme et l'Art nouveau. En 1890, il achève Night, une œuvre qui marque le tournant de Hodler vers l'imagerie symboliste. Il représente plusieurs gisants, tous détendus dans le sommeil, à l'exception d'un homme agité qui est menacé par une silhouette enveloppée de noir, que Hodler a conçue comme un symbole de mort. Hodler a développé un style qu'il a appelé «parallélisme» qui mettait l'accent sur la symétrie et le rythme qui, selon lui, formaient la base de la société humaine. Dans des peintures telles que The Chosen One , des groupements de personnages sont disposés symétriquement dans des poses évoquant un rituel ou une danse.
Hodler a peint un certain nombre de peintures historiques à grande échelle, souvent avec des thèmes patriotiques. En 1897, il accepte une commande pour peindre une série de grandes fresques pour la salle d'armes du Schweizerisches Landesmuseum de Zurich. Les compositions qu'il a proposées, y compris La bataille de Marignan qui dépeignait une bataille perdue par les Suisses, étaient controversées pour leur imagerie et leur style, et Hodler n'a été autorisé à exécuter les fresques qu'en 1900.
L'œuvre de Hodler dans sa phase finale prend un aspect expressionniste avec des figures fortement colorées et géométriques. Les paysages sont réduits à l'essentiel, constitués parfois d'un coin de terre déchiqueté entre l'eau et le ciel. 

 

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2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau 

LA JUNGFRAU PEINTE PAR FERDINAND HODLER

 

FERDINAND HODLER (1853-1918)
Jungfrau (4'158 m - 13'642 ft)
Suisse.

In La Jungfrau au dessus d'une mer de nuages, 1908

La montagne
La Jungfrau (4'158 m - 13'642 ft) ("La jeune fille" en allemand) est l'un des principaux sommets des Alpes bernoises, situé entre le nord du canton de Berne et le sud du canton du Valais, à mi-chemin entre Interlaken et Fiesch. Avec l'Eiger et le Mönch, la Jungfrau forme un mur massif surplombant l'Oberland bernois et le plateau suisse, l'un des sites les plus distinctifs des Alpes suisses. C'est l'un des sommets les plus représentés par les artistes avec le Cervin et le Mont Blanc. Le sommet a été atteint pour la première fois le 3 août 1811 par les frères Meyer d'Aarau et deux chasseurs de chamois du Valais. L'ascension fait suite à une longue expédition sur les glaciers et les hauts cols des Alpes bernoises. Ce n'est qu'en 1865 qu'une route plus directe côté nord est ouverte. La construction du chemin de fer de la Jungfrau au début du XXe siècle, qui relie Kleine Scheidegg au Jungfraujoch, entre le Mönch et la Jungfrau, a fait de la région l'un des endroits les plus visités des Alpes. Avec le glacier d'Aletsch au sud, la Jungfrau fait partie de la région Jungfrau-Aletsch, qui a été déclarée site du patrimoine mondial en 2001.
Politiquement, la Jungfrau est partagée entre les communes de Lauterbrunnen (Berne) et de Fieschertal (Valais). C'est la troisième plus haute montagne des Alpes bernoises après le Finsteraarhorn et l'Aletschhorn, respectivement distants de 12 et 8 km. Mais du lac de Thoune, et de la plus grande partie du canton de Berne, c'est le plus remarquable et le plus proche des sommets de l'Oberland bernois ; avec un dénivelé de 3 600 m entre le sommet et la ville d'Interlaken. Ceci, et l'extrême raideur de la face nord, lui ont valu une réputation précoce d'inaccessibilité.
Les paysages autour de la Jungfrau sont extrêmement contrastés. Au lieu des précipices vertigineux du nord-ouest, le versant sud-est émerge des neiges supérieures du glacier d'Aletsch à environ 3 500 mètres. La vallée d'Aletsch, longue de 20 km au sud-est, est complètement inhabitée et également entourée d'autres vallées glaciaires similaires. L'ensemble de la région constitue la plus grande zone glaciaire des Alpes ainsi que d'Europe. 

Le peintre
Ferdinand Hodler fut l'un des peintres suisses les plus connus du 19e siècle. Ses premières œuvres étaient des portraits, des paysages et des peintures de genre dans un style réaliste. Plus tard, il adopta une forme personnelle de symbolisme qu'il appela Parallélisme.
Au cours de la dernière décennie du 19e siècle, son travail aévolua pour combiner les influences de plusieurs genres, dont le symbolisme et l'Art nouveau. En 1890, il achève Night une œuvre qui marqu un tournant  vers l'imagerie symboliste. Le «parallélisme»  mettait l'accent sur la symétrie et le rythme qui, selon lui, formaient la base de la société humaine. Dans des peintures telles que The Chosen One, des groupements de personnages sont disposés symétriquement dans des poses évoquant un rituel ou une danse.
Hodler a peint un certain nombre de peintures historiques à grande échelle, souvent avec des thèmes patriotiques. En 1897, il accepte une commande pour peindre une série de grandes fresques pour la salle d'armes du Schweizerisches Landesmuseum de Zurich. Les compositions qu'il a proposées, y compris La bataille de Marignan qui dépeignait une bataille perdue par les Suisses, étaient controversées pour leur imagerie et leur style, et Hodler n'a été autorisé à exécuter les fresques qu'en 1900.
L'œuvre de Hodler dans sa phase finale prend un aspect expressionniste avec des figures fortement colorées et géométriques. Les paysages sont réduits à l'essentiel, constitués parfois d'un coin de terre déchiqueté entre l'eau et le ciel.

_________________________________________

2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau

THE JUNGFRAU PAINTED BY GIORGIO AVANTI

 

 

GIORGIO AVANTI (c.1946)

Jungfrau (4,158 m - 13, 642 ft) 

Switzerland

 

In Jungfrau 2019, oil on acrylic on canvas, 100 x 120 cm. Courtesy John Mitchell Gallery, London

The artist
A recognized Swiss author, poet and painter, Peter Studer uses ‘Giorgio Avanti’ as a pseudonym. He lives and works from a studio in Walchwil on the eastern shore of Lake Zug, in the heart of Switzerland.
Avanti’s use of intense colour has earned him the epithet as the colourist of the Alps and a lengthy article published about his life and work that came out in the October and November 2020 edition of Munich’s art magazine, Mundus, was subtitled The Kolorist der Alpen. Drawing parallels with the Polish colourists of the 1930s and 1940s, the closest living counterpart to Avanti is the recently deceased American painter, Wolf Kahn.
Studer was born in Luzern and studied for a career in law before taking up abstract painting in the 1980s. Moving to portraiture and genre scenes a decade later, Studer has spent the latter half of his career concentrating on the Swiss Alps. Mundus’s journalist, Lena Naumann, characterizes Avanti as a twenty-first century disciple of Giovanni Segantini in his interpretation of the Alps whereas the painter would align himself just as closely with the work of Ferdinand Hodler, the leading Swiss painter of the late nineteenth century and Willy Guggenheim, known as Varlin.
Peter Studer refers to his gift for poetry and short stories as ‘painting with words’. His vibrant canvases display their own poetry, one derived entirely from colour.

The mountain
The Jungfrau (4,158 m - 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc. The summit was first reached on August 3, 1811 by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened. The construction of the Jungfrau railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.
Politically, the Jungfrau is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.
The landscapes around the Jungfrau are extremely contrasted. Instead of the vertiginous precipices of the north-west, the south-east side emerges from the upper snows of the Aletsch Glacier at around 3,500 metres. The 20 km long valley of Aletsch on the south-east is completely uninhabited and also surrounded by other similar glacier valleys. The whole area constitutes the largest glaciated area in the Alps as well as in Europe.
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2021 - Wandering Vertexes...
by Francis Rousseau

THE JUNGFRAU MASSIF PAINTED BY ALEXANDRE CALAME

 

ALEXANDRE CALAME (1810-1864)

The Jungfrau (4,158 m - 13,642 ft)

Switzerland (Valais)

In The Jungfrau Massif and Lauterbrunnen Valley, Bernese Oberland, Switzerland oil on canvas, 50 x 63 cm, John Mitchell gallery, London 

The mountain
The Jungfrau (4,158 m - 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc. The summit was first reached on August 3, 1811 by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened. The construction of the Jungfrau railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.
Politically, the Jungfrau is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.
The landscapes around the Jungfrau are extremely contrasted. Instead of the vertiginous precipices of the north-west, the south-east side emerges from the upper snows of the Aletsch Glacier at around 3,500 metres. The 20 km long valley of Aletsch on the south-east is completely uninhabited and also surrounded by other similar glacier valleys. The whole area constitutes the largest glaciated area in the Alps as well as in Europe.

The painter
Alexandre Calame was a Swiss painter. He was the son of a skillful marble worker in Vevey. His father lost the family fortune, and Alexandre Calame was forced to work in a bank at the age of 15. When his father fell from a building and then died, the young Calame provided for his mother.
In his spare time he began to practice drawing small views of Switzerland. In 1829 he met his patron, the banker Diodati, who made it possible for him to study under landscape painter François Diday. After a few months he decided to devote himself fully to art.
In 1835, he began exhibiting his Swiss-Alps and forest paintings in Paris and Berlin. He became quite well known, especially in Germany, although Calame was more a drawer than an illustrator. He is associated with the Dusseldorf school of painting. In 1842 he went to Paris and displayed his works Mont Blanc, the Jungfrau, the Brienzersee, the Monte Rosa and Mont Cervin. He taught in Geneva, where Adolf Mosengel was one of his pupils.
He went to Italy in 1844 and brought back from Rome and Naples countless paintings, among them one of the ruins of Paestum (in the city museum in Leipzig). He showed that he was capable of understanding Italian nature; but the Alps remained his speciality.
The glaciers, emerald-green, white foaming mountain water, which split the trees during the storm, and the whipped clouds, the multi-colored rocks, half masked from fog, in the rays of the gleaming sun, are those things, which he knew to be true to nature.
One of his most ingenious works is the representation of the four seasons and times of the day in four landscapes, a spring morning in the south, a summer midday in the Nordic flatlands, an Autumn evening, and a winter night on a mountain. He became popular with these large works, and his popularity grew with smaller pieces and lithographies, namely 18 studies of Lauterbrunnen and Meiringen and the 24 sheets of Alpine passes. These were widespread in France, England, and Germany and are still today used to teach this style of painting.
He died in Menton, France in 1864. An exhibition featuring more than thirty of Calame's paintings was held at the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts in 2006.

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2020 - Wandering Vertexes...
by Francis Rousseau

 

 

 

THE JUNFRAU BY JOHN SINGER SARGENT

 

JOHN SINGER SARGENT  (1856-1925)

The Jungfrau (4,158m -13, 642ft)

Switzerland

 

In Jungfrau from "Splendid Mountain Watercolours",  Sketchbook,  The MET museum

The mountain
The Jungfrau (4,158 m-13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc.
Politically, the Jungfrau is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.
The landscapes around the Jungfrau are extremely contrasted. Instead of the vertiginous precipices of the north-west, the south-east side emerges from the upper snows of the Aletsch Glacier at around 3,500 metres. The 20 km long valley of Aletsch on the south-east is completely uninhabited and also surrounded by other similar glacier valleys. The whole area constitutes the largest glaciated area in the Alps as well as in Europe.
More about The Jungfrau 

The painter
John Singer Sargent was an American artist who created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Switzerland, Corfu, the Middle East, Montana, Maine, and Florida.
He was trained in Paris prior to moving to London. Sargent enjoyed international acclaim as a portrait painter, but in later life he expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. He lived most of his life in Europe. Each destination offered pictorial stimulation and treasure. Even at his leisure, in escaping the pressures of the portrait studio, he painted with restless intensity, often painting from morning until night. His hundreds of watercolors of Venice are especially notable, many done from the perspective of a gondola. His colors were sometimes extremely vivid and as one reviewer noted, "Everything is given with the intensity of a dream."  

 In the Middle East and North Africa Sargent painted Bedouins, goatherds, and fisherman. In the last decade of his life, he produced many watercolors in Maine, Florida, and in the American West, of fauna, flora, and native peoples.
With his watercolors, Sargent was able to indulge his earliest artistic inclinations for nature, architecture, exotic peoples, and noble mountain landscapes. And it is in some of his late works where one senses Sargent painting most purely for himself. His watercolors were executed with a joyful fluidness. His first major solo exhibit of watercolor works was at the Carfax Gallery in London in 1905. In 1909, he exhibited eighty-six watercolors in New York City, eighty-three of which were bought by the Brooklyn Museum. Evan Charteris wrote in 1927: 'To live with Sargent's water-colours is to live with sunshine captured and held, with the luster of a bright and legible world, 'the refluent shade' and 'the Ambient ardours of the noon.'
Although not generally accorded the critical respect given Winslow Homer, perhaps America's greatest watercolorist, scholarship has revealed that Sargent was fluent in the entire range of opaque and transparent watercolor technique, including the methods used by Homer.
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2020 - Wandering Vertexes / Mountain paintings
by Francis Rousseau

 

JUNGFRAU PAINTED BY FERDINAND HODLER

FERDINAND HODLER (1853-1918)

Jungfrau (4,158 m - 13, 642 ft) 

Switzerland

In Le Massif de la Jungfrau vu depuis Mürren, 1911 oil on canvas, 

Hahnloser/Jaeggli Stiftung, Winterthur.

The mountain
The Jungfrau (4,158 m - 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc. The summit was first reached on August 3, 1811 by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened. The construction of the Jungfrau railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.
Politically, the Jungfrau is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.
The landscapes around the Jungfrau are extremely contrasted. Instead of the vertiginous precipices of the north-west, the south-east side emerges from the upper snows of the Aletsch Glacier at around 3,500 metres. The 20 km long valley of Aletsch on the south-east is completely uninhabited and also surrounded by other similar glacier valleys. The whole area constitutes the largest glaciated area in the Alps as well as in Europe.


The painter
Ferdinand Hodler was one of the best-known Swiss painters of the 19th century. His early works were portraits, landscapes, and genre paintings in a realistic style. Later, he adopted a personal form of symbolism he called Parallelism. In the last decade of the nineteenth century his work evolved to combine influences from several genres including Symbolism and Art Nouveau. In 1890 he completed Night, a work that marked Hodler's turn toward symbolist imagery. It depicts several recumbent figures, all of them relaxed in sleep except for an agitated man who is menaced by a figure shrouded in black, which Hodler intended as a symbol of death. Hodler developed a style he called "Parallelism" that emphasized the symmetry and rhythm he believed formed the basis of human society. In paintings such as The Chosen One, groupings of figures are symmetrically arranged in poses suggestive of ritual or dance.
Hodler painted number of large-scale historical paintings, often with patriotic themes. In 1897 he accepted a commission to paint a series of large frescoes for the Weapons Room of the Schweizerisches Landesmuseum in Zurich. The compositions he proposed, including The Battle of Marignan which depicted a battle that the Swiss lost, were controversial for their imagery and style, and Hodler was not permitted to execute the frescoes until 1900.
Hodler's work in his final phase took on an expressionist aspect with strongly coloured and geometrical figures. Landscapes were pared down to essentials, sometimes consisting of a jagged wedge of land between water and sky.

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2019 - Wandering Vertexes...
by Francis Rousseau

THE JUNGFRAU BY EDGARD BOUILLETTE

EDGARD BOUILLETTE (1872-1960)

The Jungfrau (4,158 m-13,642 ft)

Switzerland

The mountain 

The Jungfrau (4,158 m-13,642 ft) ("The virgin" in german)  is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc.
Full  Wandering Vertexes entry =>

The artist 
Alphonse Henri Edgard Bouillette is a French painter best known for his mountain painting.
Born in Paris, he spent  his childhood there. Brilliant subject, he studied law and also passed a doctorate of science and a doctorate of letters. He began a legal career as a trainee lawyer at the Paris Court d'Appel but will quickly abandon it for an artistic career that will lead parallel to an intense activity of mountaineer.
He stayed for a long time in Chamonix, where he had a chalet built, from where he often went on errands with the great guide Joseph Ravanel "Le Rouge". It also frequents the massifs of Oisans and Pyrenees. He is mobilized for the Great War and fights in the trenches of the Yser.
After giving up his early career as a lawyer, he trained as a painter with Jules Joseph Lefebvre (1836-1911), Jean-André Rixens (1846-1924) and Tony Robert-Fleury (1837-1911). He was admitted to the Society of Mountain Painters in 1904, became general secretary in 1938, vice-president in 1949 and president from 1955 to 1962. He is also a member of the Independents, the French Artists and the Salon d'hiver.
He becomes one of the first members of the French Alpine Club and is vice-president of the Chamonix section. He leads many collective races in the mountains.
He died in Chamonix at the age of 89.
Edgard Bouillette has dedicated his artistic career to the representation of the mountain, especially the peaks of the Chamonix valley (Mont Blanc, Les Drus, the Bossons glacier, etc.)
He is well known for his etchings but also made oil paintings and watercolors.
Some of his works are visible in the Alpine Museum of Chamonix, the mountain museum of Les Houches and the Museum of Annecy (France)

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2019 - Wandering Vertexes...
by Francis Rousseau 

THE JUNGFRAU, MÖNCH AND EIGER PAINTED BY AUGUST MACKE

AUGUST MACKE (1887-1914)  

The Jungfrau (4,158 m - 13, 642 ft)  

 The Mönch (4,107 m - 13,474 ft)

The Eiger (3,970 m -13,020 ft)

Switzerland

 In Garten am Thuner See, oin on canvas  

The mountains 
The Jungfrau (4,158 m - 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the  Matterhorn and the Mont Blanc.

The Mönch  (4,107 m - 13,474 ft) is a mountain in the Bernese Alps, in Switzerland.  The Mönch lies on the border between the cantons of Valais and Bern, and forms part of a mountain ridge between the Jungfrau and Jungfraujoch to the west, and the Eiger to the east. It is west of Mцnchsjoch, a pass at 3,650 metres (11,980 ft), Mцnchsjoch Hut, and north of the Jungfraufirn and Ewigschneefдld, two affluents of the Great Aletsch Glacier. The north side of the Mцnch forms a step wall above the Lauterbrunnen valley. The peak was first climbed 159 years ago in 1857 on August 15, ascended by Christian Almer, Christian Kaufmann, Ulrich Kaufmann and Sigismund Porges.


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

The painter 
August Macke was a German Expressionist painter. He was one of the leading members of the German Expressionist group Der Blaue Reiter (The Blue Rider). He lived during a particularly innovative time for German art: he saw the development of the main German Expressionist movements as well as the arrival of the successive avant-garde movements which were forming in the rest of Europe. Like a true artist of his time, Macke knew how to integrate into his painting the elements of the avant-garde which most interested him.

THE JUNGFRAU PAINTED BY FERDINAND HODLER

FERDINAND HODLER   (1853-1918) 

The Jungfrau (4,158 m - 13, 642 ft)  

Switzerland

In  The Jungfrau from Isenfluh, oil on canvas, 1902, Kunstmuseum Basel

The mountain 
The Jungfrau (4,158 m - 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc. The summit was first reached on August 3, 1811 by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened. The construction of the Jungfrau railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.

Politically, the Jungfrau is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.

The landscapes around the Jungfrau are extremely contrasted. Instead of the vertiginous precipices of the north-west, the south-east side emerges from the upper snows of the Aletsch Glacier at around 3,500 metres. The 20 km long valley of Aletsch on the south-east is completely uninhabited and also surrounded by other similar glacier valleys. The whole area constitutes the largest glaciated area in

In 1811, the brothers Johann Rudolf  and Hieronymus Meyer, the head of a rich merchant family of Aarau, with several servants and a porter picked up at Guttannen,  reached the summit for the first time.

The painter 
Ferdinand Hodler was one of the best-known Swiss painters of the 19th century. His early works were portraits, landscapes, and genre paintings in a realistic style. Later, he adopted a personal form of symbolism he called Parallelism.

In the last decade of the nineteenth century his work evolved to combine influences from several genres including Symbolism and Art Nouveau. In 1890 he completed Night, a work that marked Hodler's turn toward symbolist imagery. It depicts several recumbent figures, all of them relaxed in sleep except for an agitated man who is menaced by a figure shrouded in black, which Hodler intended as a symbol of death. Hodler developed a style he called "Parallelism" that emphasized the symmetry and rhythm he believed formed the basis of human society. In paintings such as The Chosen One, groupings of figures are symmetrically arranged in poses suggestive of ritual or dance.

Hodler painted number of large-scale historical paintings, often with patriotic themes. In 1897 he accepted a commission to paint a series of large frescoes for the Weapons Room of the Schweizerisches Landesmuseum in Zurich. The compositions he proposed, including The Battle of Marignan which depicted a battle that the Swiss lost, were controversial for their imagery and style, and Hodler was not permitted to execute the frescoes until 1900.

Hodler's work in his final phase took on an expressionist aspect with strongly coloured and geometrical figures. Landscapes were pared down to essentials, sometimes consisting of a jagged wedge of land between water and sky.

2018 - Wandering Vertexes...

Un blog de Francis Rousseau

JUNGFRAU, MÖNCH AND EIGER BY FERDINAND HODLER

FERDINAND HODLER (1853-1918)

The Jungfrau (4,158 m - 13, 642 ft)  

 The Mönch (4,107 m - 13,474 ft)

The Eiger (3,970 m -13,020 ft)

Switzerland

1. In  L’Eiger, le Mönch et la Jungfrau au-dessus d'une mer de brumes, 1908, oil on canvas
2. In Eiger, Mönch and Jungfrau in Moonlight 1908, oil on canvas
3.  In L’Eiger, le Mönch et la Jungfrau au clair de lune, 1908, oil on canvas

The mountains

The Mönch  (4,107 m - 13,474 ft) is a mountain in the Bernese Alps, in Switzerland.  The Mönch lies on the border between the cantons of Valais and Bern, and forms part of a mountain ridge between the Jungfrau and Jungfraujoch to the west, and the Eiger to the east. It is west of Mцnchsjoch, a pass at 3,650 metres (11,980 ft), Mцnchsjoch Hut, and north of the Jungfraufirn and Ewigschneefдld, two affluents of the Great Aletsch Glacier. The north side of the Mцnch forms a step wall above the Lauterbrunnen valley. The Jungfrau railway tunnel runs right under the summit, at an elevation of approximately 3,300 metres (10,830 ft). The peak was first climbed 159 years ago in 1857 on August 15, ascended by Christian Almer, Christian Kaufmann, Ulrich Kaufmann and Sigismund Porges.

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

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

The north face, considered amongst the most challenging and dangerous ascents, was first climbed in 1938 by an Austrian-German expedition with Anderl Heckmair, Ludwig Vцrg, Heinrich Harrer and Fritz Kasparek. The Eiger has been highly-publicized for the many tragedies involving climbing expeditions.   In 1973 : first all female ascent of the face by Wanda Rutkiewicz, Danuta Gellner-Wach and Stefania Egierszdorff. All Polish.

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

Since 1935, at least sixty-four climbers have died attempting the north face, earning it the German nickname Mordwand, literally "murder(ous) wall"—a pun on its correct title of Nordwand (North Wall). Although the summit of the Eiger can be reached by experienced climbers only, a railway tunnel runs inside the mountain, and two internal stations provide easy access to viewing-windows carved into the rock face. They are both part of the Jungfrau Railway line, running from Kleine Scheidegg to the Jungfraujoch, between the Mцnch and the Jungfrau, at the highest railway station in Europe. The two stations within the Eiger are Eigerwand (behind the north face) and Eismeer (behind the south face), at around 3,000 metres.

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

The Jungfrau (4,158 m - 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc. The summit was first reached on August 3, 1811 by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened. The construction of the Jungfrau railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.

Politically, the Jungfrau is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.

The landscapes around the Jungfrau are extremely contrasted. Instead of the vertiginous precipices of the north-west, the south-east side emerges from the upper snows of the Aletsch Glacier at around 3,500 metres. The 20 km long valley of Aletsch on the south-east is completely uninhabited and also surrounded by other similar glacier valleys. The whole area constitutes the largest glaciated area in the Alps as well as in Europe.

Climbing 

In 1811, the brothers Johann Rudolf (1768–1825) and Hieronymus Meyer, sons of Johann Rudolf Meyer (1739–1813), the head of a rich merchant family of Aarau, with several servants and a porter picked up at Guttannen, having reached the summit for the first time.

The normal route follows the traces of the first climbers, but the long approach on the Aletsch Glacier is no longer necessary. From the area of the Jungfraujoch the route to the summit takes only a few hours. Most climbers start from the Mönchsjoch Hut. After a traverse of the Jungfraufirn the route heads to the Rottalsattel (3,885 m), from where the southern ridge leads to the Jungfrau. It is not considered a very difficult climb but it can be dangerous on the upper section above the Rottalsattel, where most of the accidents happen. The use of the Jungfrau railway can cause some acclimatization troubles as the difference of altitude between the railway stations of Interlaken and Jungfraujoch is almost 3 km. The final section of the climb is accomplished along one of the longest and sharpest arêtes of frozen snow to be found in the Alps, beyond which the eye plunges abruptly down a precipice 3,000 ft. in height into the depths of the Rottal, on the west of the Jungfrau. With perfect steadiness and first-rate guides there is no danger, unless too early in the season, or soon after a heavy fall of fresh snow. When it is necessary to cut steps all the way in hard frozen névé, the work is very laborious, and 3 hours may be consumed in ascending the 725 ft that separate the Sattel from the summit. Some rocks jut out close to the top, but the actual peak consists of a nearly level ridge of frozen snow falling away on either side like a house-top with an excessively steep roof. The view, on one side, commands the icy plains of the Aletsch Glacier, and the highest alpine peaks far and near; on the other overlooks populous valleys that lie at a depth of 2 miles below the spectator's feet.

The painter 
Ferdinand Hodler was one of the best-known Swiss painters of the 19th century. His early works were portraits, landscapes, and genre paintings in a realistic style. Later, he adopted a personal form of symbolism he called Parallelism.

In the last decade of the nineteenth century his work evolved to combine influences from several genres including Symbolism and Art Nouveau. In 1890 he completed Night, a work that marked Hodler's turn toward symbolist imagery. It depicts several recumbent figures, all of them relaxed in sleep except for an agitated man who is menaced by a figure shrouded in black, which Hodler intended as a symbol of death. Hodler developed a style he called "Parallelism" that emphasized the symmetry and rhythm he believed formed the basis of human society. In paintings such as The Chosen One, groupings of figures are symmetrically arranged in poses suggestive of ritual or dance.

Hodler painted number of large-scale historical paintings, often with patriotic themes. In 1897 he accepted a commission to paint a series of large frescoes for the Weapons Room of the Schweizerisches Landesmuseum in Zurich. The compositions he proposed, including The Battle of Marignan which depicted a battle that the Swiss lost, were controversial for their imagery and style, and Hodler was not permitted to execute the frescoes until 1900.

Hodler's work in his final phase took on an expressionist aspect with strongly coloured and geometrical figures. Landscapes were pared down to essentials, sometimes consisting of a jagged wedge of land between water and sky.

THE JUNGFRAU, MÖNCH AND EIGER SEEN BY EMIL NOLDE

EMIL NOLDE  (1867-1956)

The Jungfrau (4,158 m - 13, 642 ft)  

 The Mönch (4,107 m - 13,474 ft)

The Eiger (3,970 m -13,020 ft)

Switzerland

In Jungfrau, Mönch et Eiger, 1910

The mountains 

The Jungfrau (4,158 m - 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc.
- More about the Jungfrau 

The Mönch  (4,107 m - 13,474 ft) is a mountain in the Bernese Alps, in Switzerland.  The Mönch lies on the border between the cantons of Valais and Bern, and forms part of a mountain ridge between the Jungfrau and Jungfraujoch to the west, and the Eiger to the east. It is west of Mцnchsjoch, a pass at 3,650 metres (11,980 ft), Mцnchsjoch Hut, and north of the Jungfraufirn and Ewigschneefдld, two affluents of the Great Aletsch Glacier. The north side of the Mцnch forms a step wall above the Lauterbrunnen valley. The Jungfrau railway tunnel runs right under the summit, at an elevation of approximately 3,300 metres (10,830 ft). The peak was first climbed 159 years ago in 1857 on August 15, ascended by Christian Almer, Christian Kaufmann, Ulrich Kaufmann and Sigismund Porges.

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


The painter 
Emil Nolde (born Emil Hansen) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke (The Bridge) of Dresden in 1906, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.
Nolde's intense preoccupation with the subject of flowers reflects his continuing interest in the art of Vincent van Gogh.
From the early 1920s,  Nolde was a supporter of the Nazi party, having become a member of its Danish section. He expressed anti-semitic, negative opinions about Jewish artists, and considered "Expressionism to be a distinctively Germanic style". This view was shared by some other members of the Nazi party, notably Joseph Goebbels and Fritz Hippler.
However Hitler rejected all forms of modernism as "degenerate art", and the Nazi regime officially condemned Nolde's work. Until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, more than those of any other artist.  Some were included in the Degenerate Art exhibition of 1937, despite his protests, including (later) a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint—even in private—after 1941. Nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the "Unpainted Pictures".
In 1942 Nolde wrote: "There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones...and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed."
After World War II, Nolde was once again honored, receiving the German Order of Merit, He died in Seebüll (now part of Neukirchen). The Schiefler Catalogue raisonné of his prints describes 231 etchings, 197 woodcuts, 83 lithographs, and 4 hectographs.

About this work 
The postcards series date from  pre-expressionist phase of Nolde’s career (though he was around 30 when he created them). After hiking in the Swiss Alps, Nolde did a painting, Mountain Giants, presenting the mountains in human form. Nolde wrote : “The picture went to the annual exhibition in Munich in 1896. [Ferdinand] Hodler’s picture “Night”  which established his fame, was also there. But my “Mountain Giants" was soon returned, rejected… In those days there was a general and stormy derision and ridicule about each of Hodler’s pictures. ‘And his colors are as ugly as can be possible!’ What help was my contradiction and my firm conviction that his sinuous, pushing, wry bodies are part of the character of the mountain folk, just as the firs on the mountain slopes are gnarled and grown oddly.” From then, he painted practically every Swiss Alps Summit in human form: the Cervin / Matterhorn, the Zugspitze, the Waxenstein, the Eiger, the Monch, the Jungfrau, the Grand Saint- Gothard, Piz Bernina, the Morteratch, the Ortler, the Finsteraarhorn... they will be posted one by one in this blog.

THE JUNGRAU PAINTED BY KARL MILLNER

KARL MILLNER (1825-1895)

The Jungfrau  (4,158m- 13, 642ft)

Switzerland

In Die Junfrau, 1867, oil on canvas, private collection 

The mountain 

The Jungfrau (4,158 m- 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with The Eiger and  the Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc.

- More about the Jungfrau

The painter  

Karl Millner was a German landscape painter. In 1850, Millner moved from Mindelheim (Allgäu) to Munich, Germany's cultural capital, in order to perfect his artistic abilities and to receive new stimuli. Influenced by Carl Rottmann (1797-1850) and Eduard Schleich (the older 1812-1874), Millner quickly made a name for himself as a good painter especially for alpine landscapes. From 1858 Millner also studied painting with Julius Lange. Characteristic of his style were the dramatic appearance of the high Alps. He painted with great meticulous mountain panoramas, which were characterized by fine details and skillfully used light and shadow contrasts. The connection to the art dealer Daniel Loffel in 1857 opened the possibility for Millner to work in a financially secure framework. It also created the prerequisite for letting many young artists of this time work in his studio.

JUNGFRAU PAINTED BY CHARLES WARREN EATON

CHARLES WARREN EATON (1857-1937) 

Jungfrau (4,158m- 13, 642ft)

Switzerland

In Jungfrau in 1890, Oil on canvas, The Cooley Gallery, Connecticut

The mountain 

The Jungfrau (4,158 m-13,642 ft) ("The virgin" in german)  is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc.

The summit was first reached on August 3, 1811 by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened.

The construction of the Jungfrau railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.

Politically, the Jungfrau is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.

The landscapes around the Jungfrau are extremely contrasted. Instead of the vertiginous precipices of the north-west, the south-east side emerges from the upper snows of the Aletsch Glacier at around 3,500 metres. The 20 km long valley of Aletsch on the south-east is completely uninhabited and also surrounded by other similar glacier valleys. The whole area constitutes the largest glaciated area in the Alps as well as in Europe.

Climbing 

In 1811, the brothers Johann Rudolf (1768–1825) and Hieronymus Meyer, sons of Johann Rudolf Meyer (1739–1813), the head of a rich merchant family of Aarau, with several servants and a porter picked up at Guttannen, having reached the summit for the first time.

The normal route follows the traces of the first climbers, but the long approach on the Aletsch Glacier is no longer necessary. From the area of the Jungfraujoch the route to the summit takes only a few hours. Most climbers start from the Mönchsjoch Hut. After a traverse of the Jungfraufirn the route heads to the Rottalsattel (3,885 m), from where the southern ridge leads to the Jungfrau. It is not considered a very difficult climb but it can be dangerous on the upper section above the Rottalsattel, where most of the accidents happen. The use of the Jungfrau railway can cause some acclimatization troubles as the difference of altitude between the railway stations of Interlaken and Jungfraujoch is almost 3 km. The final section of the climb is accomplished along one of the longest and sharpest arêtes of frozen snow to be found in the Alps, beyond which the eye plunges abruptly down a precipice 3,000 ft. in height into the depths of the Rottal, on the west of the Jungfrau. With perfect steadiness and first-rate guides there is no danger, unless too early in the season, or soon after a heavy fall of fresh snow. When it is necessary to cut steps all the way in hard frozen névé, the work is very laborious, and 3 hours may be consumed in ascending the 725 ft that separate the Sattel from the summit. Some rocks jut out close to the top, but the actual peak consists of a nearly level ridge of frozen snow falling away on either side like a house-top with an excessively steep roof. The view, on one side, commands the icy plains of the Aletsch Glacier, and the highest alpine peaks far and near; on the other overlooks populous valleys that lie at a depth of 2 miles below the spectator's feet.

Source: 

- Official Website of Interalken and Jungfrau.

The painter 
Charles Warren Eaton was an American artist best known for his tonalist landscapes. He earned the nickname "the pine tree painter" for his numerous depictions of Eastern White Pine trees. Eaton was born in Albany, New York to a family of limited means. He starting working at age nine, and worked at a dry goods store in Albany into his early adulthood. When Eaton was twenty-two, a friend's amateur painting sparked his interest in art. He moved to New York City in 1879 to work during the day and attend classes at the National Academy of Design and the Art Students League at night. He also used his time off to practice sketching.
Eaton's entrance into the art world coincided with a profound change in the prevailing artistic style in America. In the late 1870s the highly realistic and detailed Hudson River School manner, which had dominated the American art scene for over forty years, was giving way to a much looser, moodier style that younger artists were bringing home from Europe. This new style, which would later come to be known as tonalism, emphasized low-key colors and tended to depict intimate settings rather than scenes of grandeur. Eaton adopted this new style in New York and became friends with two other tonalist artists, Leonard Ochtman and Ben Foster.
Eaton reached his maturity as an artist in the 1890s and 1900s with two distinctive landscape subjects. The first subject, tonalist in style, was a landscape typically containing pasture, trees and sometimes a small patch of water or stone fence. The overall mood in these paintings is one of intimacy. The second subject, more stately in manner, was a landscape with a grouping of tall pine trees, often backlit with the glow of a setting sun. He developed this second subject into some of his largest works, and was so successful with them he became known. Eaton almost never included human or animal figures in his landscapes.
Eaton worked primarily in oil and watercolor. He was a founding member of the American Watercolor Society. He exhibited at the well-known Macbeth Gallery in New York for over thirty years, in Paris via the famous dealer Paul Durand-Ruel, and at important international expositions. He also served on numerous exhibition juries. For reasons that are unclear but possibly political in nature, Eaton never gained full membership to the National Academy (though he was elected into the Academy as an Associate Academician in 1901) nor to the Society for American Artists.
Despite his success with tonalism, Eaton gradually discarded the shadowy tonalist style and began painting with brighter colors, especially after 1910. Never a true impressionist, Eaton painted in a loosely realist style. Many works from his later career depicted European scenes, where Eaton traveled regularly as an adult. He particularly favored the countryside around Bruges as well as Lake Como in Italy, which he painted with a particularly bright palette.
By the 1920s Eaton's output and creativity had faded. The Great Depression demolished the art market, and Eaton's sales dried up. He moved to Bloomfield, New Jersey in the 1880s, and lived a quiet retirement with his sister and niece before his death in 1937. He was buried at Bloomfield Cemetery. His works, like many artists of his generation, were nearly forgotten for decades until a resurgence of interest in the late twentieth century.

JUNGFRAU PAINTED BY CLEMENT CASTELLI

CLEMENT CASTELLI (1870-1959)  

Jungfrau  (4,158m- 13, 642ft)

Switzerland

The mountain 

The Jungfrau   (4,158 m- 13,642 ft) ("The virgin" in german)  is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc.

The summit was first reached on August 3, 1811 by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened.

The construction of the Jungfrau railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.

Politically, the Jungfrau is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.

The landscapes around the Jungfrau are extremely contrasted. Instead of the vertiginous precipices of the north-west, the south-east side emerges from the upper snows of the Aletsch Glacier at around 3,500 metres. The 20 km long valley of Aletsch on the south-east is completely uninhabited and also surrounded by other similar glacier valleys. The whole area constitutes the largest glaciated area in the Alps as well as in Europe.

Climbing 

In 1811, the brothers Johann Rudolf (1768–1825) and Hieronymus Meyer, sons of Johann Rudolf Meyer (1739–1813), the head of a rich merchant family of Aarau, with several servants and a porter picked up at Guttannen, having reached the summit for the first time.

The normal route follows the traces of the first climbers, but the long approach on the Aletsch Glacier is no longer necessary. From the area of the Jungfraujoch the route to the summit takes only a few hours. Most climbers start from the Mönchsjoch Hut. After a traverse of the Jungfraufirn the route heads to the Rottalsattel (3,885 m), from where the southern ridge leads to the Jungfrau. It is not considered a very difficult climb but it can be dangerous on the upper section above the Rottalsattel, where most of the accidents happen. The use of the Jungfrau railway can cause some acclimatization troubles as the difference of altitude between the railway stations of Interlaken and Jungfraujoch is almost 3 km. The final section of the climb is accomplished along one of the longest and sharpest arêtes of frozen snow to be found in the Alps, beyond which the eye plunges abruptly down a precipice 3,000 ft. in height into the depths of the Rottal, on the west of the Jungfrau. With perfect steadiness and first-rate guides there is no danger, unless too early in the season, or soon after a heavy fall of fresh snow. When it is necessary to cut steps all the way in hard frozen névé, the work is very laborious, and 3 hours may be consumed in ascending the 725 ft that separate the Sattel from the summit. Some rocks jut out close to the top, but the actual peak consists of a nearly level ridge of frozen snow falling away on either side like a house-top with an excessively steep roof. The view, on one side, commands the icy plains of the Aletsch Glacier, and the highest alpine peaks far and near; on the other overlooks populous valleys that lie at a depth of 2 miles below the spectator's feet.

The painter 

Clement (or Clemente) Castelli was born in Premia, Italy.  He moved to Paris in 1880, and studied painting with  Jules Adler and Léon Bellemont before to be a member of the  " Société des peintres de Montagnes " (Mountain Painters Society). Clement Castelli spent most of his career painting mountains in the French Alps (Chamonix Valley, La Meije and Oisans) but also the Swiss Alps (many paintings representing the Matterhorn in particular and the Junfgfrau) and Italian Alps. It painted as  mountain landscapes as well as valley bottoms or views from the peaks that its qualities of mountaineer allows it to frequent. He also painted some paintings on the Pyrenean sites (the Cirque de Gavarnie, the lake of Gaube or the valley of Ossau) which he exhibited in Tarbes. It was a prolific artist who  often paints on small panels, easier to carry with him in  mountains, but also on canvas. He paints with a brush, quite classically; its palette, made of rather "cold" colors is characteristic.

A stamp, affixed to the back of his paintings, indicates that at least for a time, his studio was located in Paris, rue du Faubourg-du-Temple. Clement Castelli has exhibited his works for many years at the Salon des Artistes Indépendants and at the Salon des Artistes Français.

THE JUNGFRAU PAINTED BY JOHN MARTIN

JOHN MARTIN (1789-1854)

The Jungfrau  (4,158 m -13,642 ft)

Switzerland

 In Manfred on the Jungfrau, 1837

The mountain 

The Jungfrau (4,158m -13,642 ft)) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mцnch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps.

The summit was first reached on August 3, 1811 by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened.

The construction of the Jungfrau railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mцnch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.

Reference :

- Official Website of Interalken and Jungfrau.

The Painter 

John Martin was an English Romantic painter, engraver and illustrator. He was celebrated for his typically vast and melodramatic paintings of religious subjects and fantastic compositions, populated with minute figures placed in imposing landscapes. Martin's paintings, and the engravings made from them, enjoyed great success with the general public—in 1821 Lawrence referred to him as "the most popular painter of his day"—but were lambasted by Ruskin and other critics.

His first exhibited subject picture, Sadak in Search of the Waters of Oblivion (now in the St. Louis Art Museum), was hung in the Ante-room of the Royal Academy in 1812, and sold for fifty guineas. The piece depicts a scene from the Tales of Two Genii" It was followed by the Expulsion (1813), Adam's First Sight of Eve (1813), Clytie (1814), Joshua Commanding the Sun to Stand Still upon Gibeon (1816) and The Fall of Babylon (1819). In 1820 appeared his Belshazzar's Feast, which excited much favourable and hostile comment, and was awarded a prize of Ј200 at the British Institution, where the Joshua had previously carried off a premium of Ј100. Then came The Destruction of Pompeii and Herculaneum (1822), The Creation (1824), the Eve of the Deluge (1840), and a series of other Biblical and imaginative subjects. The Plains of Heaven is thought by some to reflect his memories of the Allendale of his youth.

Martin's large paintings were closely connected with contemporary dioramas or panoramas, popular entertainments in which large painted cloths were displayed, and animated by the skilful use of artificial light. Martin has often been claimed as a forerunner of the epic cinema. These dioramas were tremendous successes with their audiences, but wounded Martin's reputation in the serious art world.The painting The Destruction of Sodom and Gomorrah, 1852 is currently at the Laing Art Gallery in Newcastle upon Tyne.