THE RYSY - TATRAS MOUNTAINS PAINTED BY STANISLAW WITKIEWICZ

STANISLAW WITKIEWICZ (1851-1915)
The Rysy (2,503 m -8,212 ft)
Poland - Slovakia border

In  Halny Wind in Tatra Mountains, 1885, oil on canvas

About this painting
Halny is a foehn wind that blows in southern Poland and in Slovakia in the Tatra Mountains of the Carpathians. The most turbulent halny blows in Podhale region of southern Poland, coming from the south, down the slopes of the Tatra Mountains; in Slovakia, on the other side of the mountains, it comes from the north. Halny is a warm windstorm that blows through the valleys. It is often disastrous; ripping off roofs, causing avalanches and, according to some people, can have some influence on mental states. Most halny occur in October and November, sometimes in February and March, rarely in other months. In May 1968 a destructive halny known as Wind of the Century where winds reportedly reached 288 km/h, destroyed large areas of forestry in southern Poland.

The mountain
The Rysy (2,503 m -8,212 ft), the the highest point in Poland. named Meeraugspitze in German and Tengerszem-csúcs in Hungarian is a mountain in the crest of the High Tatras, lying on the border between Poland and Slovakia. Rysy has three summits: the middle at 2,503 m (8,212 ft); the north-western at 2,499 m (8,199 ft); and the south-eastern at 2,473 m (8,114 ft). The north-western summit is the highest point of Poland ; the other two summits are on the Slovak side of the border, in the Prezov Region. A folk explanation on the Slovak side says that the name comes from the plural word rysy meaning "lynxes", although the habitat of the lynx does not extend above the timberline.
The Hungarian name Tengerszem-csúcs and the German name Meeraugspitze mean "eye-of-the-sea peak", from the glacial lake at the northern foot of the mountain, called "eye of the sea" (Morskie Oko in Polish). Morskie Oko (literally Eye of the Sea") is the largest and fourth-deepest lake (50, 8 m - 166 ft) in the Tatra Mountains. It is located deep within the Tatra National Park, in the Rybi Potok Valley, of the High Tatras mountain range at a n altitude of 1,395m - 4,577ft.
Many Swiss Pines also grow around the lake as shown in this painting.

The artist
Stanisław Witkiewicz was a Polish painter, art theoretician, and amateur architect, known for his creation of "Zakopane Style". He studied at the Academy of Fine Arts in Saint Petersburg (1868–1871) and furthered his studies in Munich (1872–1875). In 1875, he moved to Warsaw and set up a painting workshop in the laundry at the Hotel Europejski. In 1884–1887, Witkiewicz worked as the artistic director of "Wędrowiec" weekly, for which he wrote a series of articles concerning the values of a work of art and the role of art critics (published in book form under the title "Painting and criticism among us", in 1891 and 1899). In 1887, he held the same position in "Kłosy" magazine.
In 1886, he visited Zakopane for the first time. He developed a fascination with the mountains, the Podhale highlanders and their vernacular traditions. His ambition became to create a Polish national style through extraction of all-Polish forms from the architectural and decorative art of the highlanders. He formulated the Zakopane Style (styl zakopiański) (also known as Witkiewicz Style in architecture, in which he designed homes and interiors for well-off, artistically inclined Poles. He was strongly associated with Zakopane and promoted it in the art community. Witkiewicz had strong views against formal education: "school is completely at odds with the psychological make-up of human beings". He applied this principle in his son's upbringing and was disappointed when the 20-year-old Witkacy chose to enroll at the Academy of Fine Arts in Kraków. In 1908, suffering from tuberculosis, the elder Witkiewicz left his family in Zakopane and relocated to Lovran, a fashionable resort in what was then Austria-Hungary, which today is in Croatia. He died there in 1915.

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2021 - Wandering Vertexes...
by Francis Rousseau

OSOBITA AND TATRAS MOUNTAINS BY STEFAN FILIPKIEWICZ

 

STEFAN FILIPKIEWICZ (1879-1944) 

Mount Osobita  (1,687m - 5,535ft)

Slovakia - Poland border 

In Tatra Mountains in Winter, 1910,  oil on canvas

  The painter
Stefan Filipkiewicz pronounced was a Polish painter and designer, notable for his landscapes inspired by the Young Poland movement. He was a leading representative of the Polish art nouveau style of painting.
His landscapes of the Tatra Mountains and the region of Podhale were first exhibited in Kraków in 1899 at the Palace of Art run by the Kraków Society of Friends of Fine Art. Between 1900 and 1908 Filipkiewicz studied at the Academy of Fine Arts in Kraków under Józef Mehoffer, Leon Wyczółkowski, Jan Stanisławski and Józef Pankiewicz.
In 1908, Filipkiewicz joined the Society of Polish Artists. He became the contributing artist to the legendary Zielony Balonik art-and-literary cabaret. In 1929, Filipkiewicz was awarded the Golden Medal of the Universal Exhibition in Poznań. Four years later, he was also awarded by the Polish Academy of Skills for his works. During the 1939 Invasion of Poland he fled to Hungary, where he became an active member of several underground organizations. Arrested by the Gestapo, he was sent to the Mauthausen-Gusen concentration camp where he was murdered.

The mountain

Osobitá  (1,687m- 5,535ft)  as its name tells ("the lonely one") is a lonely top in the northern part of the Western Slovak Tatra Mountains, about 17 km from Zakopane (Poland). It is not very high, but very distinct and far from the main Tatra ridge. Osobitá constitutes a distinct geomorphological unit which represents just by itself 12% of the surface of the Slovak Western Tatras. This moutain was mentioned as early as 1615 when Polish highlanders described the Polish Tatras (wider during this time) as extending "From Osobita to Hawran".

There are the three distinct but close tops with heights of 1,617, 1,521 and 1,587 m (the last two are separated by the pass "sedlo pod Osobitou". There many caves in this karst zone, not all yet been investigated. In 1997, the most famous are Bezdenna and Okolik. Here also, as in many other places in the Tatra Mountains, was a mining activity for iron. Now, from these times remain only few tunnels reaching dozens of meters deep. 

In the past, the mountain was an important pastoral center, with five wide meadows. In the seventeenth century it could host up to 1500 head of sheep and cows. Later it decreased. 

Osobitá separates 3 valleys: Zuberska Dolina, Blatna Dolina and Oravicka Sucha Dolina. No other summit of the Orava region is as clearly visible, and very early the mountain attracted a lot of visitors. The first recorded visit was made by Titus Chałubiński in 1870, the first recorded winter one by Mariusz Zaruski with companions in 1906. 

At the beginning of the twentieth century, there was even a mountain hut at Mala Osobitá (1,583 m). Since 1989, the top is no longer available for tourists, since this one is included in the nature reserve (458 hectares).  There are two ways to reach Osobitá, from Slovakia and from Poland. Both are very easy and without difficulty, but the first one is as short as the second is very long.

Nowadays, it is impossible the reach the real top of Osobitá, which is located in the Natura 2000 zone, in order to protect fragile fauna such as eagles. Hence, strictly forbidden as mentionned previously. Including with a guide, or holding an UIAA licence !

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2020 - Wandering Vertexes...
by Francis Rousseau

TATRA MOUNTAINS PAINTED BY JAN STANISLAWSKI

JAN STANISLAWSKI (1860-1907) 

Mount Osobita  (1,687m- 5,535ft)

Slovakia - Poland border 

 In Pejzaz Tatra landscape, 1903,  oil on canvas, Muzeum Narodowe w Krakowie 

The mountain

Osobitá  (1,687m- 5,535ft)  as its name tells ("the lonely one") is a lonely top in the northern part of the Western Slovak Tatra Mountains, about 17 km from Zakopane (Poland). It is not very high, but very distinct and far from the main Tatra ridge. Osobitá constitutes a distinct geomorphological unit which represents just by itself 12% of the surface of the Slovak Western Tatras. This moutain was mentioned as early as 1615 when Polish highlanders described the Polish Tatras (wider during this time) as extending "From Osobita to Hawran".

There are the three distinct but close tops with heights of 1,617, 1,521 and 1,587 m (the last two are separated by the pass "sedlo pod Osobitou". There many caves in this karst zone, not all yet been investigated. In 1997, the most famous are Bezdenna and Okolik. Here also, as in many other places in the Tatra Mountains, was a mining activity for iron. Now, from these times remain only few tunnels reaching dozens of meters deep. 

In the past, the mountain was an important pastoral center, with five wide meadows. In the seventeenth century it could host up to 1500 head of sheep and cows. Later it decreased. 

Osobitá separates 3 valleys: Zuberska Dolina, Blatna Dolina and Oravicka Sucha Dolina. No other summit of the Orava region is as clearly visible, and very early the mountain attracted a lot of visitors. The first recorded visit was made by Titus Chałubiński in 1870, the first recorded winter one by Mariusz Zaruski with companions in 1906. 

At the beginning of the twentieth century, there was even a mountain hut at Mala Osobitá (1,583 m). Since 1989, the top is no longer available for tourists, since this one is included in the nature reserve (458 hectares).  There are two ways to reach Osobitá, from Slovakia and from Poland. Both are very easy and without difficulty, but the first one is as short as the second is very long.

Nowadays, it is impossible the reach the real top of Osobitá, which is located in the Natura 2000 zone, in order to protect fragile fauna such as eagles. Hence, strictly forbidden as mentionned previously. Including with a guide, or holding an UIAA licence !

The painter 

Jan Stanisławski was a Polish modernist painter, art educator, founder and member of various innovative art groups and literary societies. He began to learn painting at the art studio in Warsaw which later gave rise to the School of Fine Arts, under Wojciech Gerson.  In 1885, he continued his studies in Paris under Charles Emile Auguste Durand. While based in Paris, he travelled much, visiting Italy, Spain, Switzerland, Germany, Austria and eastern Galicia.
His early works were exhibited at the inauguration of the Salon du Champ-de-Mars in Paris in 1890 and at the Kraków Society of Friends of Fine Arts in 1892. In the 1890s, he travelled extensively and his sketchbooks filled up with drawings from Berlin, Dresden, Prague, Kraków, and various places in Ukraine.  In 1897, he initiated and helped organise the Separate Exhibition of Painting and Sculpture at Kraków’s Cloth Hall. That year, he became a teacher of landscape painting at the School of Fine Arts in Kraków, and in 1906 – after the school was upgraded to an academy in 1900 – was granted full professorship and also taught at Teodor Axentowicz’s Private School of Painting and Drawing for Women and at Teofila Certowicz’s Art School for Women in Kraków.
He co-founded the Society of Polish Artists "Sztuka" ("Art") in Kraków in 1897.  In 1898, he became a member of the Viennese Secession, and his works were exhibited among theirs in 1901, 1902 and 1905. In 1901, he became a founding member of the Polish Applied Arts Society. He worked in the Wawel Castle Reconstruction Committee and was involved in the activities of the Green Balloon (Zielony Balonik) Cabaret. After his death, two exhibitions were opened at the Palace of Art by the Kraków Society of Friends of Fine Arts in November 1907, one to show 154 of his oil paintings, as well as drawings and watercolours, and the other to present the works of his numerous outstanding students.
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2019 - Wandering Vertexes...
by Francis Rousseau 

HAWRAN AND MURAN PAINTED BY ALEKSANDER MROCZKOWSKI

ALEKSANDER MROCZKOWSKI  (1850-1927) 

Hawrań (2, 152 m - 7, 060 ft ) 

Muran (1, 890m - 6, 200ft) 

Slovakia

In View of Hawrań and Murań from Wołoszyn, 1899, Muzeum Narodowe w Krakowie

The mountains 
Hawrań (2,152 m) also called in  German Rabstein and in  Hungarian Havrán   is the highest peak (formerly incorrectly considered the second ) of the Belianske Tatry in Slovakia , located in the main ridge of the Tatras on the section where it coincides with the main ridge of the Belianske Tatras ; at the same time the highest limestone peak in the whole Tatras. The Hawrań massif dominates over as many as five valleys. On the southern side it is the Valley of the Copernicus Islands . The slopes of Hawrania falling into it are cut down by perches dividing them into valleys and gullies: Zadni Stefanowy Żleb , Janowy Żleb and Szeroka Żleb . From the north, they cut into the massif of Hawrań Valley (northwest), Czarny Potok Valley (north) and Strzystarski Żleb , the upper floor of the Bielski Potok Valley (northeast). The last two of them are separated by the northern end of the main Tatras, falling gently through the vast massif of Stara Jaworzynka and Długi Wierch to Zdziarska Przełęcz , which is the north-eastern end of the Tatras and separates them from Magura Spiska.
Murán (1, 890m) or Great Muras or Murány  in Hungarian  Muran is a summit of the Belianske Tatras in Slovakia , located in their main ridge. It is the first westernmost prominent peak in the Belianske Tatras and has a characteristic shape (some see the head of a tiger in it, others a frog), thanks to which it is one of the most recognizable peaks of this part of the Tatra Mountains
Murania Massif extends from Zadnia Murańskiej Przełęcz (about ,370 m) in the west, to Bujakowy Przechód (about 1,850 m) in the east. It rises on the plan of a regular triangle. Its highest peak is on the southern peak, the lowest on the north-west. All three peaks fall down with precipitous faults. A distinct saddle called the Muran Transfusion is cut into the Murania massif. On the south-western wall of Murania (well visible from Polana near Muranów), Władysław Cywiński writes that it is one of the most magnificent limestone walls of the entire Tatra Mountains.

The painter 

Aleksander Mroczkowski was a Polish painter who studied at the Academy of Fine Arts in Krakow in the studio of Władysław Łuszczkiewicz, Feliks Szynalewski and Leon Dembowski, and then in 1873-1877 at the Academy of Fine Arts in Munich  in the studio of A. Wagner and O. Seitz.

He created in a realistic style, he often took up the subject of Tatra landscapes and rural landscapes, such as Landscape with a homestead (1878, Muzeum Sztuki in Łódź ) and W harvestwa (1882, National Museum in Warsaw). He also painted portraits, genre scenes, historical and sacred compositions, he also dealt with decorative painting.

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2019 - Wandering Vertexes...

by Francis Rousseau 

GERLACHOVSKY STIT (2) BY STANISLAW GALEK

STANISLAW GALEK (1876-1961)

Gechovský štít (2,654 m - 8,709 ft)

Slovakia- Poland

  In Tatry, watercolor, Private collection 

The mountain 

 Gerlachovský štít (2,654 m - 8,709 ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.

Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.

The painter 
Stanisław Gałek was a Polish painter and sculptor, and... designer of kilims. In 1896 he graduated from the Vocational School of Wood Industry in Zakopane and then taught in it a drawing, being an assistant to Edgar Kováts . In 1899 he began studies at the Krakow Academy of Fine Arts in the studios of Jacek Malczewski and Jan Stanisławski. A year later, he stopped studying in Kraków and left for Munich , where he began studying at Königliche Kunstgewerbeschule.
Later, he studied at the Paris École Nationale des Beaux-Arts in the studio of Jean-Léon Gérôme.
In 1910, he left to create in Italy and the Crimea . In 1912 he received the work of a drawing teacher at a vocational school in Kołomyja, from where he returned to Zakopane in 1916 and again began to teach at the School of Wood Industry.
From 1931, he devoted himself only to painting.
 He exhibited his works for the first time in 1900, he was a regular participant in exhibitions organized by the Krakow Society of Friends of Fine Arts and from 1907 by the Society for the Encouragement of Fine Arts. He took part in an international exhibition organized in 1910 in Berlin, and in 1929 in the Poznań Universal National Exhibition. In 1930 he exhibited in Budapest and Vienna.  In 1960, the Warsaw Zachęta exhibition hosted an individual jubilee exhibition showing the full artistic output of Stanisław Gałek. He was one of the most outstanding painters showing the Tatras , especially the area around Morskie Oko.
In addition, he carved and designed patterns of kilims for the Kilim association in Zakopane.

_______________________________
2019 - Wandering Vertexes...
Un blog de Francis Rousseau

GERLACHOVSKY STIT BY STANISLAW GALEK

STANISLAW GALEK (1876-1961)

Gechovský štít (2,654 m - 8,709 ft)

Slovakia- Poland

  In Turnie tatrzanskie, watercolor, Private collection 

The mountain 

 Gerlachovský štít (2,654 m - 8,709 ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.

Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.

The painter 
Stanisław Gałek was a Polish painter and sculptor, and... designer of kilims. In 1896 he graduated from the Vocational School of Wood Industry in Zakopane and then taught in it a drawing, being an assistant to Edgar Kováts . In 1899 he began studies at the Krakow Academy of Fine Arts in the studios of Jacek Malczewski and Jan Stanisławski. A year later, he stopped studying in Kraków and left for Munich , where he began studying at Königliche Kunstgewerbeschule.
Later, he studied at the Paris École Nationale des Beaux-Arts in the studio of Jean-Léon Gérôme.
In 1910, he left to create in Italy and the Crimea . In 1912 he received the work of a drawing teacher at a vocational school in Kołomyja, from where he returned to Zakopane in 1916 and again began to teach at the School of Wood Industry.
From 1931, he devoted himself only to painting.
 He exhibited his works for the first time in 1900, he was a regular participant in exhibitions organized by the Krakow Society of Friends of Fine Arts and from 1907 by the Society for the Encouragement of Fine Arts. He took part in an international exhibition organized in 1910 in Berlin, and in 1929 in the Poznań Universal National Exhibition. In 1930 he exhibited in Budapest and Vienna.  In 1960, the Warsaw Zachęta exhibition hosted an individual jubilee exhibition showing the full artistic output of Stanisław Gałek. He was one of the most outstanding painters showing the Tatras , especially the area around Morskie Oko.
In addition, he carved and designed patterns of kilims for the Kilim association in Zakopane.

_______________________________
2018 - Wandering Vertexes...
Un blog de Francis Rousseau

MIELUSZOWIECKI PEAK CZERNY BY STANISLAW GALEK

STANISLAW GALEK (1876-1961)   

 Mieluszowiecki Peak Czarny (2,410m - 7,906ft ) 

Poland - Slovakia border

In Tatry,  1901, oil on canvas, National Museum Krakovia

The mountain 
 Mieluszowiecki Peak Czarny (2,410m - 7,906ft )  meaning  The Black Mountain peak is a summit in the High Tatras located on the Polish-Slovak border, in the main ridge of the Tatras.
The summit was formerly called the Młyguszуw Peak over Czarny. Its walls fall with half a kilometer perches towards this lake. The north-eastern perch is finished by Kazalnica Mięguszowiecka, from which a famous north-east wall , erected vertically and cut by eaves, descends. The eastern wall (about 300 m high) falls in the direction of the Upper Devil's Kotta , whose basin is bounded by the north-eastern roost of the Mieguszowiecki Black Peak and the cliffs descending from the walls of Beef Ridge. In the north-west ridge, falling in the direction of Mięguszowiecka Przełęcz pod Chłopkiem, there is a lonely turkey called Chłopek (hence the name of the pass).

The painter 
Stanisław Gałek was a Polish painter and sculptor, and... designer of kilims. In 1896 he graduated from the Vocational School of Wood Industry in Zakopane and then taught in it a drawing, being an assistant to Edgar Kováts . In 1899 he began studies at the Krakow Academy of Fine Arts in the studios of Jacek Malczewski and Jan Stanisławski. A year later, he stopped studying in Kraków and left for Munich , where he began studying at Königliche Kunstgewerbeschule.
Later, he studied at the Paris École Nationale des Beaux-Arts in the studio of Jean-Léon Gérôme.
In 1910, he left to create in Italy and the Crimea . In 1912 he received the work of a drawing teacher at a vocational school in Kołomyja, from where he returned to Zakopane in 1916 and again began to teach at the School of Wood Industry.
From 1931, he devoted himself only to painting.
 He exhibited his works for the first time in 1900, he was a regular participant in exhibitions organized by the Krakow Society of Friends of Fine Arts and from 1907 by the Society for the Encouragement of Fine Arts. He took part in an international exhibition organized in 1910 in Berlin, and in 1929 in the Poznań Universal National Exhibition. In 1930 he exhibited in Budapest and Vienna.  In 1960, the Warsaw Zachęta exhibition hosted an individual jubilee exhibition showing the full artistic output of Stanisław Gałek. He was one of the most outstanding painters showing the Tatras , especially the area around Morskie Oko.
In addition, he carved and designed patterns of kilims for the Kilim association in Zakopane.

2018 - Wandering Vertexes...
Un blog de Francis Rousseau

MOSRSKIE OKO & THE RYSY PAINTED BY JAN NEPOMUCEN GLOWACKI (1802-1847)

JAN NEPOMUCEN GLOWACKI (1802-1847) 

The Rysy (2,503 m (8,212 ft) 

Lake Morskie Oko (1,395m - 4,577ft )

Poland - Slovakia border 

 In  Morskie Oko w Tatrach, 1837, Muzeum Narodowe Krakowie, Poland

The mountain and the lake 
The Rysy (2,503 m -8,212 ft), the  the highest point in Poland. named Meeraugspitze in German and  Tengerszem-csúcs in Hungarian is a mountain in the crest of the High Tatras, lying on the border between Poland and Slovakia. Rysy has three summits: the middle at 2,503 m (8,212 ft); the north-western at 2,499 m (8,199 ft); and the south-eastern at 2,473 m (8,114 ft). The north-western summit is the highest point of Poland ; the other two summits are on the Slovak side of the border, in the Prezov Region. A folk explanation on the Slovak side says that the name comes from the plural word rysy meaning "lynxes", although the habitat of the lynx does not extend above the timberline.
The Hungarian name Tengerszem-csúcs and the German name Meeraugspitze mean "eye-of-the-sea peak", from the glacial lake at the northern foot of the mountain, called "eye of the sea" (Morskie Oko in Polish).  Morskie Oko (literally Eye of the Sea") is the largest and fourth-deepest lake (50, 8 m - 166 ft)  in the Tatra Mountains. It is located deep within the Tatra National Park,  in the Rybi Potok Valley, of the High Tatras mountain range at a n altitude of 1,395m - 4,577ft.
Many Swiss Pines also grow around the lake as shown in this painting.
Recently The Morskie Oko has been recognized by The Wall Street Journal, one of the five most beautiful lakes in the world.

The painter 
Jan Nepomucen Głowacki was a Polish realist painter of the Romantic era, regarded as the most outstanding landscape painter of the early 19th century in Poland under the foreign partitions. Głowacki studied painting at the Kraków School of Fine Arts and later at the academies of Prague and Vienna, as well as Rome and Munich. He returned to Kraków in 1828, and became a teacher of painting and drawing. From 1842 he served as a professor in the Faculty of Landscape Painting at the School of Fine Arts. His work can be found at the National Museum of Poland and its branches. Some of his work was looted by Nazi Germany in World War II and has never been recovered.
Głowacki was the first Polish artist to devote an entire series of works to the Tatra Mountains.
 He was also the first, to produce studies for his oil paintings on strenuous outdoor trips. Landscapes such as "Widok z Poronina" (View from Poronin, 1836) and "Morskie Oko" (above) are said to mark the beginning of realist Polish mountain painting.

2018 - Wandering Vertexes...
 by Francis Rousseau 

GERLACHOVSKY STIT (2) BY JAN STANISLAWSKI

  JAN STANISLAWSKI (1860-1907)

 Gerlachovský štít (2,654 m - 8,709 ft)

Poland - Slovakia border

In  Tatras,  medium oil on cardboard, 1900

The mountain 

Gerlachovský štít (2,654 m - 8,709 ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.

Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.

The painter 
Jan Stanisławski was a Polish modernist painter, art educator, founder and member of various innovative art groups and literary societies. He began to learn painting at the art studio in Warsaw which later gave rise to the School of Fine Arts, under Wojciech Gerson.  In 1885, he continued his studies in Paris under Charles Emile Auguste Durand. While based in Paris, he travelled much, visiting Italy, Spain, Switzerland, Germany, Austria and eastern Galicia.
His early works were exhibited at the inauguration of the Salon du Champ-de-Mars in Paris in 1890 and at the Kraków Society of Friends of Fine Arts in 1892. In the 1890s, he travelled extensively and his sketchbooks filled up with drawings from Berlin, Dresden, Prague, Kraków, and various places in Ukraine.  In 1897, he initiated and helped organise the Separate Exhibition of Painting and Sculpture at Kraków’s Cloth Hall. That year, he became a teacher of landscape painting at the School of Fine Arts in Kraków, and in 1906 – after the school was upgraded to an academy in 1900 – was granted full professorship and also taught at Teodor Axentowicz’s Private School of Painting and Drawing for Women and at Teofila Certowicz’s Art School for Women in Kraków.
He co-founded the Society of Polish Artists "Sztuka" ("Art") in Kraków in 1897.  In 1898, he became a member of the Viennese Secession, and his works were exhibited among theirs in 1901, 1902 and 1905. In 1901, he became a founding member of the Polish Applied Arts Society. He worked in the Wawel Castle Reconstruction Committee and was involved in the activities of the Green Balloon (Zielony Balonik) Cabaret. After his death, two exhibitions were opened at the Palace of Art by the Kraków Society of Friends of Fine Arts in November 1907, one to show 154 of his oil paintings, as well as drawings and watercolours, and the other to present the works of his numerous outstanding students.

_______________________________
2018 - Wandering Vertexes...
by Francis Rousseau 

RYSY PAINTED BY WOJCIECH WEISS

WOJCIECH WEISS (1875 -1950) 

 Rysy (2, 503 m - 8,212 ft)
Poland- Sloviaka border 

 In Czarny Staw with Mount Rysy, oil on canvas 

The mountain 
Rysy (2,503 m -8,212 ft),  named Meeraugspitze in German and  Tengerszem-csúcs in Hungarian is a mountain in the crest of the High Tatras, lying on the border between Poland and Slovakia. Rysy has three summits: the middle at 2,503 m (8,212 ft); the north-western at 2,499 m (8,199 ft); and the south-eastern at 2,473 m (8,114 ft). The north-western summit is the highest point of Poland ; the other two summits are on the Slovak side of the border, in the Prešov Region.
Experts assume that the Polish and Slovak name Rysy, meaning "scratches" or "crevices", refers to a series of gullies, either those on the western slopes of Żabie Ridge or the very prominent 500 m (1,600 ft) high gully and numerous smaller ones on the northern side. A folk explanation on the Slovak side says that the name comes from the plural word rysy meaning "lynxes", although the habitat of the lynx does not extend above the timberline.
The Hungarian name Tengerszem-csúcs and the German name Meeraugspitze mean "eye-of-the-sea peak", from the glacial lake at the northern foot of the mountain, called "eye of the sea" (Morskie Oko in Polish).
The first known ascent was made in 1840, by Ede Blásy and his guide Ján Ruman-Driečny, Sr. The first winter ascent was completed in 1884, by Theodor Wundt and Jakob Horvay. In the 20th century, the communist authorities claimed Vladimir Lenin climbed the mountain sometime in the early 1910s. Rysy is the highest point in Poland.

The painter 
Wojciech Weiss was born in Bukovina to a Polish family in exile of Stanisław Weiss and Maria Kopaczyńska. He gave up music training to study art at the Academy of Fine Arts in Krakуw under Leon Wyczуłkowski. Weiss originally painted historical or mythological paintings, but later switched to Expressionism after being profoundly influenced by Stanisław Przybyszewski. Weiss later became a member of the Vienna Secession. He was one of the first Polish Art Nouveau poster designers. Near the end of his life, he made several significant contributions to paintings of the Socialist realism in Poland.
_______________________________
2018 - Wandering Vertexes...
by Francis Rousseau 

RYSY PAINTED BY JAN STANILAWSKi

JAN STANISLAWSKI (1860-1907) 

 Rysy (2, 503 m - 8,212 ft)

Poland-Slovakia

 In  Zakopane, oil on canvas,  1906

The mountain 
Rysy (2,503 m -8,212 ft),  named Meeraugspitze in German and  Tengerszem-csúcs in Hungarian is a mountain in the crest of the High Tatras, lying on the border between Poland and Slovakia. Rysy has three summits: the middle at 2,503 m (8,212 ft); the north-western at 2,499 m (8,199 ft); and the south-eastern at 2,473 m (8,114 ft). The north-western summit is the highest point of Poland ; the other two summits are on the Slovak side of the border, in the Prešov Region.
Experts assume that the Polish and Slovak name Rysy, meaning "scratches" or "crevices", refers to a series of gullies, either those on the western slopes of Żabie Ridge or the very prominent 500 m (1,600 ft) high gully and numerous smaller ones on the northern side. A folk explanation on the Slovak side says that the name comes from the plural word rysy meaning "lynxes", although the habitat of the lynx does not extend above the timberline.
The Hungarian name Tengerszem-csúcs and the German name Meeraugspitze mean "eye-of-the-sea peak", from the glacial lake at the northern foot of the mountain, called "eye of the sea" (Morskie Oko in Polish).
The first known ascent was made in 1840, by Ede Blásy and his guide Ján Ruman-Driečny, Sr. The first winter ascent was completed in 1884, by Theodor Wundt and Jakob Horvay. In the 20th century, the communist authorities claimed Vladimir Lenin climbed the mountain sometime in the early 1910s. Rysy is the highest point in Poland.

The painter 
Jan Stanisławski was a Polish modernist painter, art educator, founder and member of various innovative art groups and literary societies. He began to learn painting at the art studio in Warsaw which later gave rise to the School of Fine Arts, under Wojciech Gerson.  In 1885, he continued his studies in Paris under Charles Emile Auguste Durand. While based in Paris, he travelled much, visiting Italy, Spain, Switzerland, Germany, Austria and eastern Galicia.
His early works were exhibited at the inauguration of the Salon du Champ-de-Mars in Paris in 1890 and at the Kraków Society of Friends of Fine Arts in 1892. In the 1890s, he travelled extensively and his sketchbooks filled up with drawings from Berlin, Dresden, Prague, Kraków, and various places in Ukraine.  In 1897, he initiated and helped organise the Separate Exhibition of Painting and Sculpture at Kraków’s Cloth Hall. That year, he became a teacher of landscape painting at the School of Fine Arts in Kraków, and in 1906 – after the school was upgraded to an academy in 1900 – was granted full professorship and also taught at Teodor Axentowicz’s Private School of Painting and Drawing for Women and at Teofila Certowicz’s Art School for Women in Kraków.
He co-founded the Society of Polish Artists "Sztuka" ("Art") in Kraków in 1897.  In 1898, he became a member of the Viennese Secession, and his works were exhibited among theirs in 1901, 1902 and 1905. In 1901, he became a founding member of the Polish Applied Arts Society. He worked in the Wawel Castle Reconstruction Committee and was involved in the activities of the Green Balloon (Zielony Balonik) Cabaret. After his death, two exhibitions were opened at the Palace of Art by the Kraków Society of Friends of Fine Arts in November 1907, one to show 154 of his oil paintings, as well as drawings and watercolours, and the other to present the works of his numerous outstanding students

_______________________________
2017 - Wandering Vertexes...
by Francis Rousseau 

GERLACHOVSKY STIT BY JAN STANISLAWSKI

JAN STANISLAWSKI (1860-1907), 

Gerlachovský štít (2,654 m - 8,709 ft)

Slovakia- Poland

 In High Tatras in winter, oil on canvas,  1891

The mountain 
 Gerlachovský štít (2,654 m - 8,709 ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.
Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.
Climbing
The High Tatras is truly an alpine rock climber’s paradise since there are no nasty glaciers about and the snow is mostly gone by June, though it may linger in some of the shaded valleys until late August. There are literally hundreds of alpine rock and face climbs here and most of them have never been done by westerners even 10 years after the fall of the wall. Most importantly the rock quality is on a par with Yosemite and the routes are well established and protected. Only members of a national UIAA club are allowed to climb the peak on their own. Other visitors have to take a certified mountain guide. The two easiest routes, usually up the Velická próba and down the Batizovská próba named after their respective valleys, are protected by chains.Technically only a grade II to III climb when not snow covered it benefits greatly from a very well maintained mountain trail that leads to the summit along a standard route.

The painter 
Jan Stanisławski was a Polish modernist painter, art educator, founder and member of various innovative art groups and literary societies. He began to learn painting at the art studio in Warsaw which later gave rise to the School of Fine Arts, under Wojciech Gerson.  In 1885, he continued his studies in Paris under Charles Emile Auguste Durand. While based in Paris, he travelled much, visiting Italy, Spain, Switzerland, Germany, Austria and eastern Galicia.
His early works were exhibited at the inauguration of the Salon du Champ-de-Mars in Paris in 1890 and at the Kraków Society of Friends of Fine Arts in 1892. In the 1890s, he travelled extensively and his sketchbooks filled up with drawings from Berlin, Dresden, Prague, Kraków, and various places in Ukraine.  In 1897, he initiated and helped organise the Separate Exhibition of Painting and Sculpture at Kraków’s Cloth Hall. That year, he became a teacher of landscape painting at the School of Fine Arts in Kraków, and in 1906 – after the school was upgraded to an academy in 1900 – was granted full professorship and also taught at Teodor Axentowicz’s Private School of Painting and Drawing for Women and at Teofila Certowicz’s Art School for Women in Kraków.
He co-founded the Society of Polish Artists "Sztuka" ("Art") in Kraków in 1897.  In 1898, he became a member of the Viennese Secession, and his works were exhibited among theirs in 1901, 1902 and 1905. In 1901, he became a founding member of the Polish Applied Arts Society. He worked in the Wawel Castle Reconstruction Committee and was involved in the activities of the Green Balloon (Zielony Balonik) Cabaret. After his death, two exhibitions were opened at the Palace of Art by the Kraków Society of Friends of Fine Arts in November 1907, one to show 154 of his oil paintings, as well as drawings and watercolours, and the other to present the works of his numerous outstanding students.
_______________________________
2017 - Wandering Vertexes...
by Francis Rousseau

OSOBITA PAINTED BY JAN STANISLAWSKI

JAN STANISLAWSKI (1860-1907) 

Mount Osobita  (1,687m- 5,535ft)

Slovakia - Poland border 

 In Osobita - Tatras Mountains, 1901, oil on canvas, Muzeum Narodowe w Krakowie 

The mountain

Osobitá  (1,687m- 5,535ft)  as its name tells ("the lonely one") is a lonely top in the northern part of the Western Slovak Tatra Mountains, about 17 km from Zakopane (Poland). It is not very high, but very distinct and far from the main Tatra ridge. Osobitá constitutes a distinct geomorphological unit which represents just by itself 12% of the surface of the Slovak Western Tatras. This moutain was mentioned as early as 1615 when Polish highlanders described the Polish Tatras (wider during this time) as extending "From Osobita to Hawran".

There are the three distinct but close tops with heights of 1,617, 1,521 and 1,587 m (the last two are separated by the pass "sedlo pod Osobitou". There many caves in this karst zone, not all yet been investigated. In 1997, the most famous are Bezdenna and Okolik. Here also, as in many other places in the Tatra Mountains, was a mining activity for iron. Now, from these times remain only few tunnels reaching dozens of meters deep. 

In the past, the mountain was an important pastoral center, with five wide meadows. In the seventeenth century it could host up to 1500 head of sheep and cows. Later it decreased. 

Osobitá separates 3 valleys: Zuberska Dolina, Blatna Dolina and Oravicka Sucha Dolina. No other summit of the Orava region is as clearly visible, and very early the mountain attracted a lot of visitors. The first recorded visit was made by Titus Chałubiński in 1870, the first recorded winter one by Mariusz Zaruski with companions in 1906. 

At the beginning of the twentieth century, there was even a mountain hut at Mala Osobitá (1,583 m). Since 1989, the top is no longer available for tourists, since this one is included in the nature reserve (458 hectares).  There are two ways to reach Osobitá, from Slovakia and from Poland. Both are very easy and without difficulty, but the first one is as short as the second is very long.

Nowadays, it is impossible the reach the real top of Osobitá, which is located in the Natura 2000 zone, in order to protect fragile fauna such as eagles. Hence, strictly forbidden as mentionned previously. Including with a guide, or holding an UIAA licence !

The painter 

Jan Stanisławski was a Polish modernist painter, art educator, founder and member of various innovative art groups and literary societies. He began to learn painting at the art studio in Warsaw which later gave rise to the School of Fine Arts, under Wojciech Gerson.  In 1885, he continued his studies in Paris under Charles Emile Auguste Durand. While based in Paris, he travelled much, visiting Italy, Spain, Switzerland, Germany, Austria and eastern Galicia.
His early works were exhibited at the inauguration of the Salon du Champ-de-Mars in Paris in 1890 and at the Kraków Society of Friends of Fine Arts in 1892. In the 1890s, he travelled extensively and his sketchbooks filled up with drawings from Berlin, Dresden, Prague, Kraków, and various places in Ukraine.  In 1897, he initiated and helped organise the Separate Exhibition of Painting and Sculpture at Kraków’s Cloth Hall. That year, he became a teacher of landscape painting at the School of Fine Arts in Kraków, and in 1906 – after the school was upgraded to an academy in 1900 – was granted full professorship and also taught at Teodor Axentowicz’s Private School of Painting and Drawing for Women and at Teofila Certowicz’s Art School for Women in Kraków.
He co-founded the Society of Polish Artists "Sztuka" ("Art") in Kraków in 1897.  In 1898, he became a member of the Viennese Secession, and his works were exhibited among theirs in 1901, 1902 and 1905. In 1901, he became a founding member of the Polish Applied Arts Society. He worked in the Wawel Castle Reconstruction Committee and was involved in the activities of the Green Balloon (Zielony Balonik) Cabaret. After his death, two exhibitions were opened at the Palace of Art by the Kraków Society of Friends of Fine Arts in November 1907, one to show 154 of his oil paintings, as well as drawings and watercolours, and the other to present the works of his numerous outstanding students.
_______________________________
2017 - Wandering Vertexes...
by Francis Rousseau 

GERLACHOVSKY STIT BY ADRIAN STOKES

ADRIAN STOKES (1902-1972) 

Gerlach Peak or Gerlachovsky stit (2,654m - 8,709ft) 

Slovakia 

 In Lake of Csorba, High Tatras, Peak of Gerlach, Hungary - oil on canvas - Tate Britain

The mountain 
Gerlachovský štít (2,654m - 8,709ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.
Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.
Climbing 
The High Tatras is truly an alpine rock climber’s paradise since there are no nasty glaciers about and the snow is mostly gone by June, though it may linger in some of the shaded valleys until late August. There are literally hundreds of alpine rock and face climbs here and most of them have never been done by westerners even 10 years after the fall of the wall. Most importantly the rock quality is on a par with Yosemite and the routes are well established and protected. Only members of a national UIAA club are allowed to climb the peak on their own. Other visitors have to take a certified mountain guide. The two easiest routes, usually up the Velická próba and down the Batizovská próba named after their respective valleys, are protected by chains.Technically only a grade II to III climb when not snow covered it benefits greatly from a very well maintained mountain trail that leads to the summit along a standard route.
Source: 
- Summit post.org

The painter 
Adrian Stokes was a British writer and painter, known principally as an influential art critic. He was also a published poet. Stokes’s first major achievements began after he met modernist poet, Ezra Pound in November 1926, and after he started analysis with Melanie Klein, in January 1930. Stokes evolved an innovative aesthetic in the first two of his major books of the 1930s - The Quattro Cento (1932) and Stones of Rimini (1934).
In The Quattro Cento he characterized the intense Early Renaissance feeling for material and space as 'mass-effect' and 'stone-blossom'. The stone—deeply respected as a medium – is, he said, 'carved to flower' thereby bringing to the surface the fantasies the artist reads in its depths.
Stones of Rimini (1934) tightens and focuses these organicist themes, further psychologises the artistic process, and establishes thereby one of Stokes’s most central themes: the duality of 'carving-modelling'.  In the contemporary art of the 1930s Stokes found these 'carving' qualities in the work of Ben Nicholson, Barbara Hepworth, and Henry Moore, whose Modernism he championed in articles in The Spectator. As a lover of ballet and a ballet-critic Stokes also promoted the avant-garde creations of the Ballets Russes in two further books: To-Night the Ballet (1934) and Russian Ballets (1935). Following the end of his analysis in 1935 he learnt to paint, joined the Euston Road school of art, and extended his carving-modelling aesthetic to painting in his seventh book, Colour and Form (1937).
In the following years he drew on the work of Klein and other psychoanalysts in reformulating his previous carving-modelling aesthetic in terms of ‘depressive’ and ‘paranoid-schizoid’ states of mind. This featured in his book, Smooth and Rough (1951),which was the last Faber publication and was much more developed in his next book, Michelangelo (1955) now published by Tavistock. At the same time Stokes helped & contributed papers to the 'Imago Group' which met regularly for nearly eighteen years to discuss applications of psychoanalysis to philosophy, politics, ethics, and aesthetics. A year after his death in 1972 these papers were published by Carcanet in the book, A Game That Must Be Lost (1973) which remains one of the most fitting tributes to his life's work.
Source: 
- Tate Britain + Wikipedia