MONTE PERDIDO BY EUGÈNE DELACROIX

 

EUGÈNE  DELACROIX  (1798-1863)

 Monte Perdido / Mont Perdu  (3,355 m -11,007ft)
Spain

In Album Pyrénées 1845, watercolor,  Musée du Louvre, Paris

The mountain
Monte Perdido (3,355 m -11,007ft), Mont Perdu in French, located in Spain, near the French-Spanish border, is the highest summit above sea level on the ridge separating the canyons of Ordesa and Pineta in the Pyrénées. This is the central peak of Tres Hermanas (Spanish) consist of the cylinder Marboré, the Soum de Ramond, and Monte Perdido itself.
Observable from the peaks popular at the time (including the Pic du Midi de Bigorre), Mount Perdido is no longer visible from the French valleys, as located behind the watershed line between France and Spain.
The limestone, rich in fossils are marine sedimentary origin. These sediments occupying a shallow sea were raised during the formation of the Pyrenees there are 40 million years (see article Geology of the Pyrénées).The summit a form of typical pyramidal peak of erosion by glaciers time of glaciation, he is still on the northeast side of the mountain the Monte Perdido glacier.
Ramond Carbonnières, is the firstpersonn to have discover Mount Perdu. Since his first stay in Barèges, in 1787, he was fascinated by the "massive limestone" of Marboré. In 1796, convinced that the nature of the limestone Marboré is "ordinary" Ramond determines an access route to the summit: the Estaubé Valley.

The painter
Ferdinand Victor Eugène Delacroix was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school. As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.
In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modeled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.
However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible."
In 1832, Delacroix traveled to Spain and North Africa, as part of a diplomatic mission to Morocco shortly after the French conquered Algeria. He went not primarily to study art, but to escape from the civilization of Paris, in hopes of seeing a more primitive culture. He eventually produced over 100 paintings and drawings of scenes from or based on the life of the people of North Africa, and added a new and personal chapter to the interest in Orientalism. Delacroix was entranced by the people and the costumes, and the trip would inform the subject matter of a great many of his future paintings. He believed that the North Africans, in their attire and their attitudes, provided a visual equivalent to the people of Classical Rome and Greece: "The Greeks and Romans are here at my door, in the Arabs who wrap themselves in a white blanket and look like Cato or Brutus…"
He managed to sketch some women secretly in Algiers, as in the painting Women of Algiers in their Apartment (1834), but generally he encountered difficulty in finding Muslim women to pose for him because of Muslim rules requiring that women be covered. Less problematic was the painting of Jewish women in North Africa, as subjects for the Jewish Wedding in Morocco (1837–41).
While in Tangier, Delacroix made many sketches of the people and the city (see painting above), subjects to which he would return until the end of his life. Animals—the embodiment of romantic passion—were incorporated into paintings such as Arab Horses Fighting in a Stable (1860), The Lion Hunt (of which there exist many versions, painted between 1856 and 1861), and Arab Saddling his Horse (1855).

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2019 - Wandering Vertexes...
by Francis Rousseau

MONTE PERDIDO PAINTED BY FRANZ SCHRADER

FRANZ SCHRADER (1844-1924) 

Monte Perdido ou Mont Perdu  (3,355 m -11,007ft)

Spain

The mountain

Monte Perdido (3,355 m -11,007ft), Mont Perdu in French, located in Spain, near the French-Spanish border, is the highest summit above sea level on the ridge separating the canyons of Ordesa and Pineta  in the Pyrénées. This is the central peak of  Tres Hermanas (Spanish) consist of the cylinder Marboré, the Soum de Ramond, and Monte Perdido itself.

Observable from the peaks popular at the time (including the Pic du Midi de Bigorre), Mount Perdido is no longer visible from the French valleys, as located behind the watershed line between France and Spain.

The limestone, rich in fossils are marine sedimentary origin. These sediments occupying a shallow sea were raised during the formation of the Pyrenees there are 40 million years (see article Geology of the Pyrénées).The summit a form of typical pyramidal peak of erosion by glaciers time of glaciation, he is still on the northeast side of the mountain the Monte Perdido glacier.

Ramond Carbonnières, is the firstpersonn to have discover Mount Perdu. Since his first stay in Barèges, in 1787, he was fascinated by the "massive limestone" of Marboré.  In 1796, convinced that the nature of the limestone Marboré is "ordinary" Ramond  determines an access route to the summit: the Estaubé Valley.

August 11, 1797, he organized a real strong expedition of fourteen participants to the summit: The hard glacial corridor Tuquerouye. His guides, Laurens and Mouré, and a Spanish smuggler to lead the Frozen lake at the foot of the north face of the peak. A second expedition, September 7, follows the same route: very tricky climb through the corridor Tuquerouye in hard ice late in the season, return by parets of Pinewood and port. Ramond finds confirmation of his thesis: limestone, rich in fossils are marine sedimentary origin. His observations during these "expeditions" are the subject of his masterpiece: Travel to Monte Perdido and in the adjacent part of the Pyrénées appeared in the An IX of the French Revolution (1801). It was only in 1802 that Ramond decided to reach the summit of Mont Perdu.

On 6 August 1802 first known ascent to the summit of Mont Perdu by two Barèges guys, Rondo and Laurens led at the top by an Aragonese shepherd. Rondo and Laurens had been sent scouts to recognize the ascent route by Ramond Carbonnières that, with the same guides, realized the second ascent of Mont Perdu, 10 August 1802. The route followed was long and complicated: Valley Estaubé, port Pine, crossing parets from Pinewood to the col de Niscle east of Monte Perdido, glacier climbing and the southern slope terraces.

The painter 

Jean-Daniel-François Schrader, better known as Franz Schrader, was a French mountaineer, geographer, cartographer and landscape painter. He made an important contribution to the mapping of the Pyrenees and was highly considered among the pyreneists.

He is the son of Prussian Ferdinand Schrader from Magdeburg, who emigrated to Bordeaux, and of Marie-Louise Ducos, cousin of geographers Élisée and Onésime Reclus. He shows a talent for drawing from an early age.  In 1866, while staying with his friend Léonce Lourde-Rocheblave in Pau, he has a sort of revelation at the "spectacle grandiose de la barrière montagneuse des Pyrenées ".

His vocation strengthens when reading stories by Ramond de Carbonnières (1755-1827) (Les Voyages au Mont-Perdu) and by Henry Russell (1834-1909) (Les Grandes Ascensions des Pyrénées, guide d'une mer à l'autre).

While devoting the main part of his leisure to long hikes in the mountains, during which he gathers thousands of observations for his topographical records, he still finds time to paint numerous panoramas of the Pyrenees as well as the Alps which he also studies, and to acquire a solid formation in topography.

To facilitate topographical work in rugged terrain, he develops the orograph in 1873. His first great cartographic work, in 1874, is the map of the massif of Gavarnie-Mont-Perdu at a scale of 1:40 000, for which he collects the measurements with the participation of Lourde-Rocheblave from nearby Pau. That map triggers such a sensation that it is included in the annual Mémoires of the Société des Sciences Physiques et Naturelles de Bordeaux with an explanatory text the following year. The Club alpin français directory follows with the publication of an enthusiastic review, describing Schrader as qualified for "first rank topographer in a glorious master stroke". In 1876 he takes part in the creation of the Bordeaux section of the Club Alpin Français, becoming its first president.

In 1877 he travels to Paris with a recommendation from his cousins Élisée and Onésime Reclus. There, having met Émile Templier, nephew and collaborator of Louis Hachette, and Adolphe Joanne, president of the Parisian section of the Club Alpin Français, he is employed as a geographer by Librairie Hachette and is now able to practice his passion in the scope of his profession. He also gives geography lessons at the School of Anthropology and also becomes editor of the French Alpine Club directory

In 1927, three years after his death, his remains are transferred to a tomb on a slope of the Circus of Gavarnie (French Pyrenees).

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2019 - Wandering Vertexes...

by Francis Rousseau 

MONTE PERDIDO BY GUSTAVE DORE

GUSTAVE DORE (1832-1883)

 Mont Perdu or Monte Perdido (3,355 m -11,007ft)
Spain

In Ramond à l'assaut du Mont Perdu, print  from  "Voyages au Mont Perdu "  
by Ramond de Carbonnieres 

The mountain
Monte Perdido (3,355 m -11,007ft), Mont Perdu in French, located in Spain, near the French-Spanish border, is the highest summit above sea level on the ridge separating the canyons of Ordesa and Pineta  in the Pyrénées. This is the central peak of  Tres Hermanas (Spanish) consist of the cylinder Marboré, the Soum de Ramond, and Monte Perdido itself.
Observable from the peaks popular at the time (including the Pic du Midi de Bigorre), Mount Perdido is no longer visible from the French valleys, as located behind the watershed line between France and Spain.
The limestone, rich in fossils are marine sedimentary origin. These sediments occupying a shallow sea were raised during the formation of the Pyrenees there are 40 million years (see article Geology of the Pyrénées).The summit a form of typical pyramidal peak of erosion by glaciers time of glaciation, he is still on the northeast side of the mountain the Monte Perdido glacier.
Ramond Carbonnières, is the firstpersonn to have discover Mount Perdu. Since his first stay in Barèges, in 1787, he was fascinated by the "massive limestone" of Marboré.  In 1796, convinced that the nature of the limestone Marboré is "ordinary" Ramond  determines an access route to the summit: the Estaubé Valley.
August 11, 1797, he organized a real strong expedition of fourteen participants to the summit: The hard glacial corridor Tuquerouye. His guides, Laurens and Mouré, and a Spanish smuggler to lead the Frozen lake at the foot of the north face of the peak. A second expedition, September 7, follows the same route: very tricky climb through the corridor Tuquerouye in hard ice late in the season, return by parets of Pinewood and port. Ramond finds confirmation of his thesis: limestone, rich in fossils are marine sedimentary origin. His observations during these "expeditions" are the subject of his masterpiece: Travel to Monte Perdido and in the adjacent part of the Pyrénées appeared in the An IX of the French Revolution (1801). It was only in 1802 that Ramond decided to reach the summit of Mont Perdu.
On 6 August 1802 first known ascent to the summit of Mont Perdu by two Barèges guys, Rondo and Laurens led at the top by an Aragonese shepherd. Rondo and Laurens had been sent scouts to recognize the ascent route by Ramond Carbonnières that, with the same guides, realized the second ascent of Mont Perdu, 10 August 1802. The route followed was long and complicated: Valley Estaubé, port Pine, crossing parets from Pinewood to the col de Niscle east of Monte Perdido, glacier climbing and the southern slope terraces.
1830 - First women, by Anne Lister (who will do the "first" official Vignemale in 1838) with Charles guide.
1888 - First ascent of the north face by guides Célestin Passet and François Bernat-Salles, and pyreneist Roger Monts. The north side of Mount Perdu, above the lake Tuquerouye, was occupied by a glacier with seracs two areas covering the rock bars bottom and middle of the face.

The painter

Paul-Gustave-Louis-Christophe Doré said Gustave Doré, born January 6, 1832 in Strasbourg and died January 23, 1883 in Paris in his house in the rue Saint-Dominique, is an illustrator, writer, cartoonist, painter and French sculptor. It has been internationally recognized in his lifetime.
In 1851, two albums Three artists misunderstood and unhappy and Des-approval for a pleasure trip are published at Aubert. Freed from the inspiration of Rudolf Töppfer and compliance executives, Gustave Doré performs freely arranged vignettes with several dimensions. The plurality of page composition, its innovations and graphic variants are deployed mainly in Des-approval for a pleasure trip. His technique uses the lithographic pencil, drawing directly on the stone.
Paul Lafon, writer and editor, he had met with Philipon, agreed to his request to illustrate the works of Rabelais. In 1854, the book is published by Bry with 99 vignettes and 14 inset plates engraved on wood. This affordable edition with low printing quality and modest size (large octavo) is not up to the high ambitions of Gustave Doré. In 1854 and 1873 shows two versions of "Rabelais Works" and in 1855: The Hundred Tales of comical  by Honoré de Balzac.
In 1856 he illustrates with a painter's hand, The Wandering Jew, a poem set to music by Pierre Dupont, a work break in his artistic career and in the history of the woodcut. Abandoning copper engraving usually privileged, Gustave Doré chooses the color of wood technical (interpretation etching).  Doré formed its own school burners. Each plank of the work, with a short caption end of the poem is a work of painting. The large format of the book allows the transition to movies folio. The image is independent of the text. This work is having great success with the public.
Gustave Doré wants to deploy his talent in illustration of the great works of literature, with contempt observed towards caricature and drawing current. It will list the thirty masterpieces in the epic, comic or tragic his ideal library wishing illustrate them in the same format as the Wandering Jew, Dante's Inferno, the Tales by Perrault, Don Quixote, Homer, Virgil, Aristotle, Milton (The lost paradise) or Shakespeare ... The publishers refuse to perform these luxury publications of too much cost. Gustave Doré should self-publish the works of Dante in 1861. The critical and popular success hails striking prints on the text. A critic will assert that: "The author is crushed by the designer. More than Dante illustrated by Doré, Doré is illustrated by Dante. "
In the 1860s, he illustrated the Bible.
He attended high society and expands his pictorial activities it consists of large paintings like Dante and Virgil in the ninth circle of Hell (1861 - 311 × 428 cm - Musée de Brou), The Enigma (Musée d'Orsay ) or the Christ leaving court (1867-1872 - 600 × 900 cm² Museum of modern and Contemporary Art of Strasbourg).
According to Ray Harryhausen, famous designer of special effects,
Multiplying together drawings and illustrations of all kinds (fantastic, portraits-loads), its reputation extends to Europe, he met a huge success in England with the Doré Gallery that opened in London in 1869. In 1875, the figure of Samuel Coleridge's poem The Rime of the Ancient Mariner (Lament of the Ancient Mariner) published in London by Golden Gallery is one of his greatest masterpieces.
His art of composition culminated in London, a Pilgrimage by Blanchard Jerrold, true story about the London of the late nineteenth century when all classes are present, inspiration is particularly striking in the description of the London slums.
He died of a heart attack at age 51 on January 23, 1883, leaving an impressive work of more than ten thousand pieces, which will have later a strong influence on many illustrators. His friend Ferdinand Foch organizes the funeral at St. Clotilde, burial at Père Lachaise and a farewell meal at 73 rue Saint-Dominique.