EDWARD HOPPER (1882-1967)
Mount Moran (3,842 m -12,605 ft)
United States of America (Wyoming)
The mountain
Mount Moran is a mountain in Grand Teton National Park of western Wyoming, USA. The mountain is named for Thomas Moran, an American western frontier landscape artist. Mount Moran dominates the northern section of the Teton Range rising 6,000 feet (1,800 m) above Jackson Lake. Several active glaciers exist on the mountain with Skillet Glacier plainly visible on the monolithic east face. Like the Middle Teton in the same range, Mount Moran's face is marked by a distinctive basalt intrusion known as the Black Dike.
On November 21, 1950, a C-47 cargo plane owned by the New Tribes Mission crashed on Mount Moran during a storm, killing all 21 on board. A rescue party organized by Paul Petzoldt located the wreckage on November 25, but the extreme location of the crash made it impossible to recover the plane or the bodies. The wreckage remains on the mountain today, but the Park Service discourages direct climbs to the site.
Climbing
The first ascent of Mount Moran was made on July 22, 1922 by LeGrand Hardy, Bennet McNulty and Ben C. Rich of the Chicago Mountaineering Club via the Skillet Glacier route. The Skillet Glacier still provides perhaps the easiest and most direct route to the summit and is rated 5.4. As the name implies, most of the climb is on the steep snow and ice of Skillet Glacier, and an ice axe and crampons should be used in the ascent.
Mount Moran is an impressive mountain which would make it attractive to mountaineers. However, the comparative difficulty of the approach to the climbs makes it a much less popular climb than the Grand Teton and other peaks to the south. No trails to Mount Moran have been maintained for over twenty years, and any approach overland requires a great deal of bushwhacking through vegetation, deadfalls and bogs along the perimeter of Leigh Lake. Instead, most climbers choose to canoe from String Lake, across Leigh Lake and then pick their way to their respective route; but even this may require some overland route finding. As a result, most climbs on Mount Moran tend to take several days even when the technical portion of the climb is comparatively brief.
The most popular route up Mount Moran is the CMC route, named for the Chicago Mountaineering Club. The CMC is rated 5.5, and ascends the east face just south of the Black Dike. The CMC climbs good rock and is essentially free of snow and ice. It also has the advantage of a good camp high on the flank of the mountain. The Direct South Buttress route, rated 5.7 A3, is recognized in the historic climbing text Fifty Classic Climbs of North America and considered a classic around the world.
References :- Mount Moran in Summitpost.org
- Wikipedia Moutn Moran Page
The painter
Edward Hopper was a American realist painter and printmaker.
Conservative in politics and social matters (Hopper asserted for example that "artists' lives should be written by people very close to them"), he accepted things as they were and displayed a lack of idealism. Cultured and sophisticated, he was well-read, and many of his paintings show figures reading. He was generally good company and unperturbed by silences, though sometimes taciturn, grumpy, or detached. He was always serious about his art and the art of others, and when asked would return frank opinions.
Hopper's most systematic declaration of his philosophy as an artist was given in a handwritten note, entitled "Statement", submitted in 1953 to the journal, Reality:
"Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception.
The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design.
The term life used in art is something not to be held in contempt, for it implies all of existence and the province of art is to react to it and not to shun it.
Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great."
Though Hopper claimed that he didn't consciously embed psychological meaning in his paintings, he was deeply interested in Freud and the power of the subconscious mind. He wrote in 1939: "So much of every art is an expression of the subconscious that it seems to me most of all the important qualities are put there unconsciously, and little of importance by the conscious intellect."
Hopper was stoic and fatalistic—a quiet introverted man with a gentle sense of humor and a frank manner. Hopper was someone drawn to an emblematic, anti-narrative symbolism, who "painted short isolated moments of configuration, saturated with suggestion". His silent spaces and uneasy encounters "touch us where we are most vulnerable", and have "a suggestion of melancholy, that melancholy being enacted". His sense of color revealed him as a pure painter as he "turned the Puritan into the purist, in his quiet canvasses where blemishes and blessings balance". According to critic Lloyd Goodrich, he was "an eminently native painter, who more than any other was getting more of the quality of America into his canvases".
Hopper derived his subject matter from two primary sources: one, the common features of American life (gas stations, motels, restaurants, theaters, railroads, and street scenes) and its inhabitants; and two, seascapes and rural landscapes, a few (2 or 3, not much) mountains landscape. Regarding his style, Hopper defined himself as "an amalgam of many races" and not a member of any school, particularly the "Ashcan School". Once Hopper achieved his mature style, his art remained consistent and self-contained, in spite of the numerous art trends that came and went during his long career.
Hopper's seascapes fall into three main groups: pure landscapes of rocks, sea, and beach grass; lighthouses and farmhouses; and sailboats. Sometimes he combined these elements.
Urban architecture and cityscapes also were major subjects for Hopper. He was fascinated with the American urban scene, "our native architecture with its hideous beauty, its fantastic roofs, pseudo-gothic, French Mansard, Colonial, mongrel or what not, with eye-searing color or delicate harmonies of faded paint, shouldering one another along interminable streets that taper off into swamps or dump heaps."
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