PEÑALARA BY JOAQUIN SOROLLA Y BATISDA

JOAQUIN SOROLLA Y BATISDA (1863-1923)

Peñalara (2,428 m - 7 966 ft) 

Spain  

 In  Tormenta sobre Penalara Segovia, oil on canvas  

The mountain 

Peñalara (2,428 m - 7 966 ft)  is the highest mountain peak, straddling the provinces of Madrid and Segovia, in the mountain range of Guadarrama, a subsection of Spain's larger Sistema Central mountain chain which lies at the center and divides the Iberian Peninsula. A possible origin for the name Peñalara is, Pen or Ben (as in Ben Nevis, mountain in Scotland) and Allah (ancient name for the Moon ) and Ra (ancient name for the Sun). It is The mountain of the Moon and the Sun. Consequently, it is one of the most emblematic and important peaks of the Guadarramas.

The eastern section of the mountain lies in the municipality of Rascafría in the province of Madrid, belonging to the Valle of Lozoya, and its western section is located in the Valle of Valsaín in the province of Segovia. The peak's summit is a designated natural park known as the Parque Natural de Peñalara, which features several small lakes and some steep escarpments.

The outline of Peñalara is rounded, displaying few underhangs. The hillsides of this mountain are covered with different types of vegetation, depending on the elevation. 

The painter 
Joaquin Sorolla y Bastida was a Spanish painter.  Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land.

Sorolla's influence on some other Spanish painters, such as Alberto Pla y Rubio and Julio Romero de Torres, was so noted that they are described as "sorollista."

After his death, Sorolla's widow, Clotilde Garcia del Castillo, left many of his paintings to the Spanish public. The paintings eventually formed the collection that is now known as the Museo Sorolla, which was the artist's house in Madrid. The museum opened in 1932.

Sorolla's work is represented in museums throughout Spain, Europe, America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten Impressionist beach scenes made by Sorolla, several of which are now housed in the J. Paul Getty Museum.

In 2007 many of his works were exhibited at the Petit Palais in Paris, alongside those of John Singer Sargent, a contemporary who painted in a similarly impressionist-influenced manner. In 2009, there was a special exhibition of his works at the Prado in Madrid, and in 2010, the exhibition visited the Oscar Niemeyer Museum in Curitiba, Brazil.

THE JAIZKIBEL BY ALBERT MARQUET

ALBERT MARQUET (1875–1947)

 The Jaizkibel (547m -1, 795ft) 

Spain / France border

1.  In  Fontarabie vue d'Hendaye, oil on canvas, 1899

2.   In Vue d'Hendaye, watercolour, 1900 

The mountain 

The Jaizkibel is mountain range of the Basque Country located east of Pasaia, north of Lezo and west of Hondarribia, in Spain, with 547 m at the highest point (peak Alleru). The range stretches south-west to north-east, where it plunges into the sea at the Cape Higuer (spelled Higher too). To the north-west, the mountain dips its slopes in the sea with beautiful cliffs all along, overlooking on the east the marshes of Txingudi, the river Bidasoa and its mouth (tracing the state borderline between France and Spain) as well as the towns of Irun, Hendaia (Hendaye in french) and Hondarribia on the river banks. The nearest relevant mountains are La Rhune, Aiako Harria and Ulia closing the view east to west from the south. Some people consider Jaizkibel to be the first westernmost mountain of the Pyrenees.
The area is a relevant landmark on the grounds of its strategic position close to the border with France, with the range standing as the easternmost Spanish rise by the seaside and affording an unmatched view miles away, both over the sea and inland. As a result, the military has always showed an interest in the place since the 16th century when the Spanish-French border started to be drafted, taking to building defence facilities, such as the towers dotting the ridge (dating from the Carlist Wars) or the Fortress of Guadalupe going back to 1890, nowadays out of use. The northern slopes have borne witness to frequent military manoeuvres from the decade of the 50s through the early 90s, when the road to the booster station was sometimes cut off to avoid disruption and damage.

The painter 
Albert Marquet was a French painter, associated with the Fauvist movement. He initially became one of the Fauve painters and a lifelong friend of Henri Matisse. In 1890 Marquet moved to Paris to attend the Ecole des Arts Decoratifs, where he met Henri Matisse. They were roommates for a time, and they influenced each other's work. Marquet began studies in 1892 at the École des Beaux-Arts de Paris under Gustave Moreau, the famous symbolist artist. In 1905 he exhibited at the Salon d'Automne. Dismayed by the intense coloration in these paintings, critics reacted by naming the artists the "Fauves", i.e. the wild beasts. Although Marquet painted with the fauves for years, he used less bright and violent colours than the others, and emphasized less intense tones made by mixing complementaries, thus always as colors and never as grays.
Marquet subsequently painted in a more naturalistic style, primarily landscapes, but also several portraits and, between 1910 and 1914, several female nude paintings.
From 1907 to his death, Marquet alternated between working in his studio in Paris (a city he painted a lot of times) and many parts of the European coast and in North Africa. He was most involved with Algeria and Algiers and with Tunisia. He remained also impressed particularly with Naples and Venice where he painted the sea and boats, accenting the light over water.  During his voyages to Germany and Sweden he painted the subjects he usually preferred: river and sea views, ports and ships, but also cityscapes.
Marquet was particularly revered by the American painters Leland Bell and his wife Louisa Matthiasdottir. He was also revered by Bell's contemporaries Al Kresch and Gabriel Laderman. Since both Bell and Laderman were teachers in several American art schools, they have had an influence on younger American figurative artists and their appreciation of Marquet.
Matisse said ; "When I look at Hokusai, I think of Marquet—and vice versa ... I don't mean imitation of Hokusai, I mean similarity with him".

MULHACEN (2) BY JOAQUIN SOROLLA

JOAQUIN SOROLLA Y BATISTA  (1863-1923)

 Mulhacén  (3, 478 m - 11,411ft)

Spain

In Sierra Nevada  in winter, oil on canvas, 1890

The mountain 

Mulhacén (3, 478 m - 11,411ft) is the highest mountain in continental Spain and in the Iberian Peninsula. It is part of the Sierra Nevada range in the Cordillera Penibética. It is named after Abu l-Hasan Ali, or Muley Hacén as he is known in Spanish, the penultimate Muslim King of Granada in the 15th century who, according to legend, was buried on the summit of the mountain.

Mulhacén is the highest peak in Europe outside the Caucasus Mountains and the Alps. It is also the third most topographically prominent peak in Western Europe, after Mont Blanc and Mount Etna, and is ranked 64th in the world by prominence.  The peak is not exceptionally dramatic in terms of steepness or local relief. The south flank of the mountain is gentle and presents no technical challenge, as is the case for the long west ridge. The shorter, somewhat steeper north east ridge is slightly more technical. The north face of the mountain, however, is much steeper, and offers several routes involving moderately steep climbing on snow and ice (up to French grade AD) in the winter

Mulhacén can be climbed in a single day from the villages of either Capileira or Trevélez, but it is more common to spend a night at the mountain refuge at Poqueira, or in the bare shelter at Caldera to the west. Those making the ascent from Trevelez can also bivouac at the tarns to the northeast of the peak.

The painter 

Joaquin Sorolla y Bastida  was a Spanish painter.  Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land.

Sorolla's influence on some other Spanish painters, such as Alberto Pla y Rubio and Julio Romero de Torres, was so noted that they are described as "sorollista."

After his death, Sorolla's widow, Clotilde Garcia del Castillo, left many of his paintings to the Spanish public. The paintings eventually formed the collection that is now known as the Museo Sorolla, which was the artist's house in Madrid. The museum opened in 1932.

Early in 1911, Sorolla visited the United States for a second time, and exhibited 152 new paintings at the Saint Louis Art Museum and 161 at the Art Institute of Chicago a few weeks later. Later that year Sorolla met Archie Huntington in Paris and signed a contract to paint a series of oils on life in Spain. These 14 magnificent murals, installed to this day in the Hispanic Society of America building in Manhattan, range from 12 to 14 feet in height, and total 227 feet in length.The major commission of his career, it would dominate the later years of Sorolla's life.

Huntington had envisioned the work depicting a history of Spain, but the painter preferred the less specific 'Vision of Spain', eventually opting for a representation of the regions of the Iberian Peninsula, and calling it The Provinces of Spain. Despite the immensity of the canvases, Sorolla painted all but one en plein air, and travelled to the specific locales to paint them: Navarre, Aragon, Catalonia, Valencia, Elche, Seville, Andalusia, Extremadura, Galicia, Guipuzcoa, Castile, Leon, and Ayamonte, at each site painting models posed in local costume. Each mural celebrated the landscape and culture of its region, panoramas composed of throngs of laborers and locals. By 1917 he was, by his own admission, exhausted. He completed the final panel by July 1919.

Sorolla suffered a stroke in 1920, while painting a portrait in his garden in Madrid. Paralyzed for over three years, he died on 10 August 1923. He is buried in the Cementeri de Valencia, Spain.

The Sorolla Room, housing the Provinces of Spain at the Hispanic Society of America, opened to the public in 1926. The room closed for remodeling in 2008, and the murals toured museums in Spain for the first time. The Sorolla Room reopened in 2010, with the murals on permanent display.

Sorolla's work is represented in museums throughout Spain, Europe, America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten Impressionist beach scenes made by Sorolla, several of which are now housed in the J. Paul Getty Museum.

In 2007 many of his works were exhibited at the Petit Palais in Paris, alongside those of John Singer Sargent, a contemporary who painted in a similarly impressionist-influenced manner. In 2009, there was a special exhibition of his works at the Prado in Madrid, and in 2010, the exhibition visited the Oscar Niemeyer Museum in Curitiba, Brazil.

From 5 December 2011 to 10 March 2012, several of Sorolla's works were exhibited in Queen Sofia Spanish Institute, in New York. This exhibition included pieces used during Sorolla's eight-year research for The Vision of Spain.

AITXURI PAINTED BY VALENTIN DE ZUBIAURRE

VALENTIN DE ZUBIAURRE (1879-1963)

Aitxuri (1, 551m- 5, 088 ft)

Spain (Basque country) 

The mountain 

The Aitxuri, Atxuri or Aitz txuri (1, 551m- 5,088 ft) is a mountain belonging to the Basque Mountains range  It is located in the province of Guipuscoa, Basque Country (Spain).

Located in the Aizkorri massif, it is the highest peak of the latter. By the mid-1980s, its neighbor Aketegi was considered the highest point of the massif, but measurements at that time revealed that the Aitxuri was about 3 meters higher.

The altitude of 1,551 m is the highest of all the Cantabrian Basque Cordillera, from the foothills of the Cantabrian mountain range to the Pyrenees. The importance of this summit comes from its prominence1 which is 943 m and the class as the 36th of the peninsular mountains. If it is not the highest mountain in the whole Basque Country, it is the one with the most prominent prominence.

Etymologically Aitxuri means "white rock", and comes from the Basque words Aitz ("rock") and txuri ("white").

Like the rest of the summits that form the Aitzkorri massif, the Aitxuri is made up of limestone rocks, and it rises on the territories of Urbia in its southern part, and on Goierri by the north. At its feet is the town of Zegama, whose roads and railroad tracks stand out perfectly.

The summits that surround it are of almost equivalent heights, with the peculiarity that the one that gives its name to the mountain is the smallest of them.

The routes are numerous for the ascent of this mountain, and almost all common to Aizkorri and Aketegi.

The artist

Valentin de Zubiaurre  Spanish painter,  born deaf and dumb, as was his brother Ramуn de Zubiaurre, also a painter, three years younger than him. Both were children of the musical composer Valentin de Zubiaurre Urionabarrenechea. Originally from the Basque town of Garay, the Zubiaurre family lived in the capital of Spain, where the father had come to occupy the position obtained as musical teacher in the chapel of the Royal Palace. In spite of the great paternal desire that some of his children continue with the musical vocation, the fatality they both wanted to be born deaf.

Valentin began his studies at the Royal Academy of Fine Arts of San Fernando in 1894, continuing later with the painters Muсoz Degrain and Alejandro Ferrant and Carlos de Haes. In 1898 he made a trip through the Netherlands  France and Italy to complete his training.

Valentin de Zubiaurre cultivated a painting, in which the Basque and Castilian themes proliferated, where the solidity of the figures was interpenetrated with a deep sense of color. It was not easy for him to get official recognition. At a time when naturalism and impressionism were the dominant trends, Zubiaurre made a more intellectual painting, combining on the one hand the mastery of his art with the intellectual elaboration of the idea. He was also blamed for having fallen into the vice of repetitive repetition of certain types and compositions once he gained a certain popularity, elaborating again and again the same formulas.

For years, the erroneous belief that the Zubiaurre brothers shared the making of their paintings, both working on the same work, was maintained. Nothing of this is true; It is true that they started from a similar aesthetic norm and that they dealt with a similar variety of subjects, but the results of both brothers were substantially different. In Valentin's painting there is predominating a certain melancholy that is not present in the paintings of Ramуn. In the words of José Ortega y Gasset , his work is "a lyrical inventory of Basque existence". 

His work is found in several Spanish museums, such as the Carmen Thyssen Museum Malaga, where the Basque Coast at sunset (1949) and Landscape at sunset with dantzaris (undated) are exhibited, an example of Basque regionalist painting, resolved through a flat composition and the use of cold colors, characteristics of Zubiaurre's style. 

In  Euskal mendiak (Las montañas vascas), 1950, Oil on canvas, Bilab aFine art Musueul, Spain 

MONTE ULIA PAINTED BY JOAQUIN SOROLLA Y BATISDA

JOAQUIN SOROLLA Y BATISDA (1863-1923) 

Monte Ulia (243 m -797 ft)

Spain (Basque Country) 

The ridge
Mount Ulia (243m -  is a minor ridge located east of San Sebastian in the Basque Country, territory of Spain.The ridge stretching out to the east along the coastline sinks in the strait leading to the Bay of Pasaia. The chain overlooks San Sebastian to the west, with the Zurriola beach and the district of Gros lying right under it. This privileged location turned the place into an important leisure and romantic area in the early 20th century, a condition that has remained up to date, despite the pressure of increasing urban development.
Ulia is recorded as Mirall (a Gascon name and term) in 1530 after the whale observation point or rock still to be seen at the top of the ridge, while it was called Uliamendi as it approached the Zurriola inlet. The rock was used to watch out for migratory whales passing off the Basque coast before they became extinct in this area, with the watchers notifying the whalers from Donostia of their presence by means of a bonfire. Later the westernmost tip of the ridge standing out onto the sea, i.e. Monpas, took on a strategic value for a short period after 1898 and became a stronghold with hidden corridors, military facilities and batteries, ready for an attack from the ocean.
The Park of Nurseries of Ulia is at the beginning of the road going to Mount Ulia from Donostia. It is also named Park of Nurseries of Ulia since the nurseries situated inside the park were the provider of plants for the public gardens of Donostia-San Sebastiбn during all the 20th century and until 2008. The park is of great value because it includes two ancient water-tanks, because of its architectonic elements, and because of its flora and fauna.

The painter 
Joaquin Sorolla y Bastida  was a Spanish painter.  Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land. Sorolla's influence on some other Spanish painters, such as Alberto Pla y Rubio and Julio Romero de Torres, was so noted that they are described as "sorollista."

After his death, Sorolla's widow, Clotilde Garcia del Castillo, left many of his paintings to the Spanish public. The paintings eventually formed the collection that is now known as the Museo Sorolla, which was the artist's house in Madrid. The museum opened in 1932.

Sorolla's work is represented in museums throughout Spain, Europe, America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten Impressionist beach scenes made by Sorolla, several of which are now housed in the J. Paul Getty Museum.

In 2007 many of his works were exhibited at the Petit Palais in Paris, alongside those of John Singer Sargent, a contemporary who painted in a similarly impressionist-influenced manner. In 2009, there was a special exhibition of his works at the Prado in Madrid, and in 2010, the exhibition visited the Oscar Niemeyer Museum in Curitiba, Brazil.

From 5 December 2011 to 10 March 2012, several of Sorolla's works were exhibited in Queen Sofia Spanish Institute, in New York. This exhibition included pieces used during Sorolla's eight-year research for The Vision of Spain.

An exhibition titled Sorolla & America explored Sorolla’s unique relationship with the United States in the early twentieth century. The exhibition opened at the Meadows Museum at SMU in Dallas (13 December 2013 - 19 April 2014). From there it traveled to the San Diego Museum of Art (30 May - 26 August 2014) and then to Fundaciun MAPFRE in Madrid (23 September 2014 - 11 January 2015).

The Spanish National Dance Company honored the painter's The Vision of Spain by producing a ballet Sorolla based on the paintings

Early in 1911, Sorolla visited the United States for a second time, and exhibited 152 new paintings at the Saint Louis Art Museum and 161 at the Art Institute of Chicago a few weeks later. Later that year Sorolla met Archie Huntington in Paris and signed a contract to paint a series of oils on life in Spain. These 14 magnificent murals, installed to this day in the Hispanic Society of America building in Manhattan, range from 12 to 14 feet in height, and total 227 feet in length.The major commission of his career, it would dominate the later years of Sorolla's life.

Huntington had envisioned the work depicting a history of Spain, but the painter preferred the less specific 'Vision of Spain', eventually opting for a representation of the regions of the Iberian Peninsula, and calling it The Provinces of Spain. Despite the immensity of the canvases, Sorolla painted all but one en plein air, and travelled to the specific locales to paint them: Navarre, Aragon, Catalonia, Valencia, Elche, Seville, Andalusia, Extremadura, Galicia, Guipuzcoa, Castile, Leon, and Ayamonte, at each site painting models posed in local costume. Each mural celebrated the landscape and culture of its region, panoramas composed of throngs of laborers and locals. By 1917 he was, by his own admission, exhausted. He completed the final panel by July 1919.

Sorolla suffered a stroke in 1920, while painting a portrait in his garden in Madrid. Paralyzed for over three years, he died on 10 August 1923. He is buried in the Cementeri de Valencia, Spain. The Sorolla Room, housing the Provinces of Spain at the Hispanic Society of America, opened to the public in 1926. The room closed for remodeling in 2008, and the murals toured museums in Spain for the first time. The Sorolla Room reopened in 2010, with the murals on permanent display.

PICO DEL TEIDE PHOTOGRAPHED BY TEMPEST ANDERSON

TEMPEST ANDERSON (1846-1913), 

Pico del Teide (3, 718 m -12, 198 ft)

Tenerife - Canari Islands - Spain

In Teneriffe Peaks,  photographed in 1891 

The mountain 

Pico del  Teide (3,718m - 12,198 ft) (« Teide Peak") is a volcano on Tenerife in the Canary Islands, Spain. Before the 1495 Spanish colonization of Tenerife, the native Guanches called the volcano Echeyde, which in their legends referred to a powerful figure leaving the volcano, which could turn into hell. El Pico del Teide is the modern Spanish name.
Its summit is the highest point in Spain and the highest point above sea level in the islands of the Atlantic. If measured from its base on the ocean floor, it is at 7,500 m-24,600 ft the third highest volcano on a volcanic ocean island in the world after Mauna Kea and Mauna Loa in Hawaii. Its elevation makes Tenerife the tenth highest island in the world. It remains active: its most recent eruption occurred in 1909 from the El Chinyero vent on the northwestern Santiago rift.
Historical volcanic activity on the island is associated with vents on the Santiago or northwest rift (Boca Cangrejo in 1492, Montañas Negras in 1706, Narices del Teide or Chahorra in 1798 and El Chinyero in 1909) and the Cordillera Dorsal or northeast rift (Fasnia in 1704, Siete Fuentes and Arafo in 1705). The 1706 Montañas Negras eruption destroyed the town and principal port of Garachico, as well as several smaller villages.

The photographer
Tempest Anderson  was an ophthalmic surgeon at York County Hospital in the United Kingdom, and an expert amateur photographer and vulcanologist. He was a member of the Royal Society Commission which was appointed to investigate the aftermath of the eruptions of Soufriere volcano, St Vincent and Mont Pelee, Martinique, West Indies which both erupted in May 1902. Some of his photographs of these eruptions were subsequently published in his book, Volcanic Studies in Many Lands. Tempest Anderson spent nine months in Mexico, Guatemala and the West Indies in 1906/1907. He travelled to Mexico to attend the 10th Congres Geologique International before sailing by mail steamer to Guatemala to study the effects of the 1902 earthquake. During the trip he observed and photographed Cerro Quemado, Santa Maria, and Atitlan. During this trip he collected first hand accounts of the 1902 eruption of the Santa Maria and the immediate aftermath. Captain Saunders of the Pacific Mail Steamer S.S. Newport observed the eruption cloud which rose to a great height. The Captain measured it using a sextant and recorded it as reaching 17 to 18 miles. The sounds accompanying the eruption were loud and were heard even louder at more distant places than close to the mountain. The eruption was heard as far away as Guatemala City, the noises so strong, they were assumed to come from neighbouring volcanoes.

CERRO DEL CABALLO PAINTED BY JOAQUIN SOROLLA

JOAQUIN SOROLLA Y BATISDA (1863-1923)

Cerro del Cabalo (3,051m  -10, 010 ft) 

Spain (Andalusia)

The mountain 

Cerro del Caballo  (3,051m  -10, 010 ft) or  Pico del Caballo or simply Caballo ("horse") is a mountain in the Sierra Nevada, Spain. It is the westernmost three thousander of the range. Cerro del Caballo offers great views on the neighbouring mountains like : Veleta, Mulhacen and Alcazaba. The ridge starting from Caballo continues several km almost at the same altitude turning at the Tajos de la Virgen mountain ( 3,237 m). The ridge has become very popular during the recent years, as it provides an easy walk and scramble during summer months. From Tajos de la Virgen the ridge turns towards south west ending at the south side of the Caballo mountain and making a big Y letter. The highest peak on the southern ridge is Tajo de los Machos (3,088m). At the middle of the two ridges starts the river Rio Lanjaron, 400 m lower. Rio Lanjaron flows several km down towards the town of Lanjaron. There is also a few lakes in this wide mountain valley.

Caballo mountain can be accessed from the towns of Lanjaron, Durcal and also from the Sierra Nevada Ski Resort. The Ski Resort is located at Pradollano, also the north west flank of the Veleta mountain. There is a hut at the east side of the mountain at 2800 m altitude. The hut covers eight people and can be used all year around. It belongs into category of bivouac, which means it is built to give protection only. Huts like Poqueira hut are guarded and usually provide meals and heating. Other hut which can be used is the Elorrieta hut on the top of the Tajos de la Virgen mountain. Nearest water taking place is the river Rio Lanjaron at the south side of the mountain. There is also tiny rivers on the west side of the mountain at 2500 m altitude. These seasonal rivers can be difficult to find sometimes. During the winter months Sierra Nevada mountains have Alpine conditions, even there is not much glacier to be met anymore. Ice axe and crampons are essential.

The painter 
Joaquin Sorolla y Bastida  was a Spanish painter.  Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land.

Sorolla's influence on some other Spanish painters, such as Alberto Pla y Rubio and Julio Romero de Torres, was so noted that they are described as "sorollista."

After his death, Sorolla's widow, Clotilde Garcia del Castillo, left many of his paintings to the Spanish public. The paintings eventually formed the collection that is now known as the Museo Sorolla, which was the artist's house in Madrid. The museum opened in 1932.

Sorolla's work is represented in museums throughout Spain, Europe, America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten Impressionist beach scenes made by Sorolla, several of which are now housed in the J. Paul Getty Museum.

In 2007 many of his works were exhibited at the Petit Palais in Paris, alongside those of John Singer Sargent, a contemporary who painted in a similarly impressionist-influenced manner. In 2009, there was a special exhibition of his works at the Prado in Madrid, and in 2010, the exhibition visited the Oscar Niemeyer Museum in Curitiba, Brazil.

From 5 December 2011 to 10 March 2012, several of Sorolla's works were exhibited in Queen Sofia Spanish Institute, in New York. This exhibition included pieces used during Sorolla's eight-year research for The Vision of Spain.

An exhibition titled Sorolla & America explored Sorolla’s unique relationship with the United States in the early twentieth century. The exhibition opened at the Meadows Museum at SMU in Dallas (13 December 2013 - 19 April 2014). From there it traveled to the San Diego Museum of Art (30 May - 26 August 2014) and then to Fundaciun MAPFRE in Madrid (23 September 2014 - 11 January 2015).

The Spanish National Dance Company honored the painter's The Vision of Spain by producing a ballet Sorolla based on the paintings

Early in 1911, Sorolla visited the United States for a second time, and exhibited 152 new paintings at the Saint Louis Art Museum and 161 at the Art Institute of Chicago a few weeks later. Later that year Sorolla met Archie Huntington in Paris and signed a contract to paint a series of oils on life in Spain. These 14 magnificent murals, installed to this day in the Hispanic Society of America building in Manhattan, range from 12 to 14 feet in height, and total 227 feet in length.The major commission of his career, it would dominate the later years of Sorolla's life.

Huntington had envisioned the work depicting a history of Spain, but the painter preferred the less specific 'Vision of Spain', eventually opting for a representation of the regions of the Iberian Peninsula, and calling it The Provinces of Spain. Despite the immensity of the canvases, Sorolla painted all but one en plein air, and travelled to the specific locales to paint them: Navarre, Aragon, Catalonia, Valencia, Elche, Seville, Andalusia, Extremadura, Galicia, Guipuzcoa, Castile, Leon, and Ayamonte, at each site painting models posed in local costume. Each mural celebrated the landscape and culture of its region, panoramas composed of throngs of laborers and locals. By 1917 he was, by his own admission, exhausted. He completed the final panel by July 1919.

Sorolla suffered a stroke in 1920, while painting a portrait in his garden in Madrid. Paralyzed for over three years, he died on 10 August 1923. He is buried in the Cementeri de Valencia, Spain.

The Sorolla Room, housing the Provinces of Spain at the Hispanic Society of America, opened to the public in 1926. The room closed for remodeling in 2008, and the murals toured museums in Spain for the first time. The Sorolla Room reopened in 2010, with the murals on permanent display.

PEÑALARA PAINTED BY JOAQUIN SOROLLA

JOAQUIN SOROLLA Y BATISDA (1863-1923)

Peñalara (2,428 m -7,966 ft)  

Spain

 In Vista del Torneo, El Pardo y la Sierra de Guadarrama, 1907, oil on canvas, 

Museo Sorolla Madrid

The Mountain

In this painting one can see a panoramic of a part of El Pardo, in the first term and in the background, the Sierra de Guadarrama and its highest peak the Peñalara, half covered by snow.

El Pardo is located in the northern suburb of Madrid, close to the Manzanares river. Part of its area is covered by a forest named Monte de El Pardo (El Pardo Mountain). The ward contains a neighbourhood called Mingorrubio.  The ward was first mentioned in 1405 and in 1950 was an autonomous municipality of the Community of Madrid. One of the most notable buildings is the Royal Palace of El Pardo, built in 1406 by the order of King Henry III of Castile. It was the first large edifice built in the area.
The Peñalara (2,428 m -7,966 ft)  is the highest peak of the Sierra de Guadarrama,  a mountain range forming the main eastern section of the Sistema Central, the system of mountain ranges along the centre of the Iberian Peninsula.  The range runs southwest—northeast, extending from the province of Ávila in the southwest, through the Community of Madrid, to the province of Segovia in the northeast. The range measures approximately 80 kilometres (50 mi) in length.  The mountain range's proximity to Madrid means it can get crowded with visitors. The range is crossed by numerous roads and railway routes. It has a highly developed tourism infrastructure, coupled with provisions for various mountain sports. This poses a threat to the fragile environment and habitats of the mountains.
The others peaks of the Sierra de Guadarama range are: Bola del Mundo (2,265 m, 7,431 ft),
Cabezas de Hierro (2,383 m, 7,818 ft), Dos Hermanas (2,285 m, 7,496 ft), Flecha (2,078 m, 6,807 ft), La Maliciosa (2,227 m, 7,306 ft), La Najarra (2,108 m, 6,916 ft), El Nevero (2,209 m, 7,227 ft),
Pandasco (2,238 m, 7,342 ft), Peña del Águila (2,010 m, 6,594 ft), La Peñota (1,945 m, 6,381 ft)
Risco de los Claveles (2,387 m, 7,831 ft), Risco de los Pájaros (2,334 m, 7,657 ft), Siete Picos (2,138 m, 7,014 ft), Montón de Trigo (2,161 m, 7,089 ft), Cerro de Valdemartín (2,280 m, 7,480 ft), Monte Abantos (1,753 m, 5,751 ft) and   El Yelmo (1,717 m, 5,633 ft).
The flora of the Sierra de Guadarrama is characterized in the higher elevation Atlantic vegetation region with Juniper groves, montane grasslands, Spanish broom thickets, pine forests, and Pyrenean Oaks forests; and in the lower elevation Mediterranean vegetation region by Holm oak forests. while the pastures around the summits are fringed by juniper and Spanish broom shrubs.

The painter 
Joaquin Sorolla y Bastida was a Spanish painter.  Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land.

Sorolla's influence on some other Spanish painters, such as Alberto Pla y Rubio and Julio Romero de Torres, was so noted that they are described as "sorollista."

After his death, Sorolla's widow, Clotilde Garcia del Castillo, left many of his paintings to the Spanish public. The paintings eventually formed the collection that is now known as the Museo Sorolla, which was the artist's house in Madrid. The museum opened in 1932.

Sorolla's work is represented in museums throughout Spain, Europe, America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten Impressionist beach scenes made by Sorolla, several of which are now housed in the J. Paul Getty Museum.

In 2007 many of his works were exhibited at the Petit Palais in Paris, alongside those of John Singer Sargent, a contemporary who painted in a similarly impressionist-influenced manner. In 2009, there was a special exhibition of his works at the Prado in Madrid, and in 2010, the exhibition visited the Oscar Niemeyer Museum in Curitiba, Brazil.

 - More about Joaquin Sorolla 

PUIG MAJOR PAINTED BY MAXWELL ASHBY ARMFIELD

MAXWELL ASHBY ARMFIELD (1881-1972)

Puig Major de son Torella (1, 445m - 4,741 ft)

Spain, Balearic Islands (Majorca) 

 In Soller, Mallorca, early morning, tempera on board

The mountain 
The Puig Major (1, 445m) is the highest peak of the island of Majorca and the Balearic Islands in Spain. Its southern spur is called the Penyal des Migdia. In Majorcan, Puig means "peak" or "summit". "Major" indicates that this is the highest mountain in the range called the Serra de Tramuntana. the complete denomination of the mountain is Puig de son Torrella or Puig Major de son Torrella. This mountain is located on the eastern segment of the Serra de Tramuntana, between Soller and Pollença.  It is less than five kilometers from the sea. Like the entire Serra de Tramuntana, the Puig Major appeared between the Paleozoic and the Miocene. It is the northeastern prolongation in the Mediterranean of the Betic Cordilleras which appeared on the peninsula.
It is a karst formation where limestone dominates.
In 1936, the Spanish Civil War halted the construction of a funicular. The engineer Antoni Parietti Coll (Palma, 1899-1979) designed the project in 1934, from Cals Reis to the summit, for the construction of an astronomical observatory.  In the early 1950s, this project competed with another, of a military nature. Since 1953, a radar of the Ejercito del Aire, the Spanish air force, has taken the top of the mountain and forbidden access to it, from its base, where there is a military ground. Originally, the United States installed the first radar, in order to give NATO air traffic control capabilities in the western Mediterranean. In 1958, an asphalt road leads from the base to the top.
The facilities were modernized in 2000.
In 2011, the Serra de Tramuntana, a chain of mountains among which the Puig Major dominates, is registered as a World Heritage Site by UNESCO.
Given the military destination of the place, hikes are practically prohibited. However, the Air Force agrees to derogations. The military site also includes a botanical observatory.

The painter 
Maxwell Ashby Armfield was an English artist, illustrator and writer. Born to a Quaker family in Ringwood, Hampshire, Armfield was educated at Sidcot School and at Leighton Park School. In 1887 he was admitted to Birmingham School of Art, then under the headmastership of Edward R. Taylor and established as a major centre of the Arts and Crafts Movement. There he studied under Henry Payne and Arthur Gaskin and, outside the school, received instruction in tempera painting from Joseph Southall at Southall's studio in Edgbaston.  He was later to recall: “Apart from invaluable benefit from guidance and advice from such masters as Henry Payne, Arthur Gaskin and Joseph Southall, I really taught myself, as must any one who hopes to do individual work... I detested the Life Class, and rarely attended it: I refused to learn perspective or anatomy as they bored me, and generally, I could not have been a worse student.”
Leaving Birmingham in 1902, he moved to Paris to study at the Académie de la Grande Chaumière under Gustave Courtois and René Menard, where he became an associate of Gaston Lachaise, Keith Henderson, and Norman Wilkinson. He exhibited at the Paris Salon in 1904, where his painting Faustine was bought by the French State and donated to the Musée du Luxembourg (now in the Musée d'Orsay, Paris).
In 1909 he married the author and playwright Constance Smedley who was first cousin of his friend and fellow artist William Smedley-Aston and his wife Irene, and, like many with connections to the Arts and Crafts Movement in Birmingham, settled in the Cotswolds.  Armfield's wife also influenced him to become a pacifist and Christian Scientist. From 1915 the couple spent seven years in the United States.
In 1946 Armfield released the book 'Tempera Painting Today', published by Pentagon Press LTD.
Armfield has paintings in the collection of several British institutions including Derby Art Gallery, Southampton and Nottingham Gallery and the Russell-Cotes Art Gallery.

THE VIGNEMALE PAINTED BY FRANZ SCHRADER

FRANZ SCHRADER  (1844-1924)

Pique-Longue Vignemale (3,928m - 10, 820ft)

France - Spain border 

In Le Pic de Vignemale, 1900, oil on canvas. Private collection. 

The mountain 

The  Pic de Vignemale (3,928m - 10, 820ft)  also called in Occitan  Vinhamala and in Aragonese Comachibosa is the highest of the French Pyrenean summits, on the border with Spain (the highest in the whole of the range is Pic Aneto).
The Vignemale is the name given to the mountain massif, which also straddles into Spain. It consists of several distinct summits, the predominant ones being Grand Vignemale or Pique-Longue (3,298 m), Pointe Chausenque (3,204 m) and Petit Vignemale (3,032 m). The Vignemale is also the site of the second largest of the Pyrenean glaciers (after Aneto's one), the Ossoue (with around 0.6 kmІ), across which the "voie normale", or standard route to the summit travels.
One of its most dramatic aspects is the North Face upon which lie a number of serious ascent routes requiring skill and commitment. Below the North Face is the impressively situated mountain refuge - the Refuge des Oulettes de Gaube. The approach from the north entails a delightful walk up to and around the picturesque Lac de Gaube giving increasingly dramatic views of the mountain.
Almost synonymous with the Vignemale is the name of Count Henry Russell, an eccentric of the Victorian era who developed a lifelong passion for the mountain.

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.
On August 11, 1878, accompanied by high-mountain guide Henri Passet, he carries out the first known ascension of the Grand Batchimale (3,176 m), consequently renamed Pic Schrader.
In 1880, he is promoted director of cartography for Hachette and aims at surpassing in quality the Stieler Atlas, by German Adolf Stieler. On November 25, 1897, as vice-president of the C.A.F. he holds a conference at the Club Alpin which constitutes his true esthetic credo of the mountain and in which he announces the imminent foundation of a French school of mountain painting. The conference text title is : À quoi tient la beauté des montagnes (What makes the beauty of mountains); this speech is considered as the birth bulletin of La Société des peintres de montagne (Paris) and its text is reproduced in 1898 in the Club Alpin Français directory.
From 1901 to 1904, he  actively contributes to the Guides Joanne of the Librairie Hachette, which in 1919 became the  famous Guides bleus.
The scientific commission created by Franz Schrader in the Club Alpin Français still exists today, as well as the Société des Peintres de Montagne.
In 1927, three years after his death, his remains are transferred to a tomb on a slope of the Circus of Gavarnie (French Pyrenees).

CAP DE CREUS PAINTED BY SALVADOR DALI

SALVADOR DALI (1904-1989) 

Cap de Creus (672 m  - 2, 205ft)

 Spain 

1. In The Persistence of Memory, 1931, oil on canvas, MOMA, New York

2. In Untitled Persistence of Fair Weather, oil on canvas, Salvador Dali Museum,  St Pertersburg FL 

3. In Le Spectre du Sex Appeal, 1934, oil on canvas, Fundació Gala-Salvador Dalí, Figueres, Spain

4. In The Disintegration of the Persistence of Memory, 1952-54, oil on canvas, 

Salvador Dali Museum,  St Pertersburg FL, USA 

The mountain 

Cap de Creus (672 m  - 2, 205ft) is a peninsula and a headland located at the far northeast of Catalonia (Spain), some 25 kilometres (16 mi) south from the French border. The cape lies in the municipal area of Cadaquès, and the nearest large town is Figueres, capital of the Alt Empordа and birthplace of Salvador Dali.  Cadaquès is the most well known village, home of artists and writers, with sophisticated atmosphere, near Port Lligat where Dali built his home in a paradise small bay. (Dalн depicted Cap de Creus in four of his most famous paintings : The Persistence of Memory  in 1931 (above), Untitled (Persistence of Fair Weather) 1932-34 (above),  Le Spectre du sex appeal in 1934 (above) and the The Disintegration of the Persistence of Memory, 1952-54 (above) 

Cap de Creus is the easternmost point of Catalonia and therefore of mainland Spain and the Iberian Peninsula.  Mountains are the eastern foothills of the Pyrenees, the natural border between France and Spain.  The peninsula has an area of 190 square kilometres (73 sq mi) of an extraordinary landscape value; a windbeaten very rocky dry region, with almost no trees, in contrast with a seaside rich in minuscule creeks of deep blue sea to anchor.The region is frequently swept by awful north wind "tramontana" (beyond mountains) which has caused many naval disasters.

Sant Pere de Rodes stands out at 500 metres (1,600 ft) of altitude, with views of the Cap and the Pyrenees. It is an 11th-century monastery whose first structures date from about 750 AD.

One legend tells that the Cap de Creus was hewn by Hercules.

Source: 

- Cap de Creus on line 

 The painter 

Salvador Domingo Felipe Jacinto Dalí i Domènech, Marqués de Dalí de Púbol, known professionally as Salvador Dalí, was a prominent Spanish surrealist painter born in Figueres, Catalonia, Spain.
Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work,  The Persistence of Memory (above) was completed in August 1931. Dalí's expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media. Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to an "Arab lineage", claiming that his ancestors were descended from the Moors. Dalí was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork, to the dismay of those who held his work in high esteem, and to the irritation of his critics.
Sources :
- MOMA, New York 
- Series of video portraits and interviews

MULHACEN PAINTED BY JOAQUIN SOROLLA

JOAQUIN SOROLLA Y BATISTA  (1863-1923)

 Mulhacén  (3, 478 m - 11,411ft)

Spain

Painted in 1890

The mountain 

Mulhacén (3, 478 m - 11,411ft) is the highest mountain in continental Spain and in the Iberian Peninsula. It is part of the Sierra Nevada range in the Cordillera Penibética. It is named after Abu l-Hasan Ali, or Muley Hacén as he is known in Spanish, the penultimate Muslim King of Granada in the 15th century who, according to legend, was buried on the summit of the mountain.
Mulhacén is the highest peak in Europe outside the Caucasus Mountains and the Alps. It is also the third most topographically prominent peak in Western Europe, after Mont Blanc and Mount Etna, and is ranked 64th in the world by prominence.  The peak is not exceptionally dramatic in terms of steepness or local relief. The south flank of the mountain is gentle and presents no technical challenge, as is the case for the long west ridge. The shorter, somewhat steeper north east ridge is slightly more technical. The north face of the mountain, however, is much steeper, and offers several routes involving moderately steep climbing on snow and ice (up to French grade AD) in the winter
Mulhacén can be climbed in a single day from the villages of either Capileira or Trevélez, but it is more common to spend a night at the mountain refuge at Poqueira, or in the bare shelter at Caldera to the west. Those making the ascent from Trevelez can also bivouac at the tarns to the northeast of the peak.


The painter 
Joaquin Sorolla y Bastida  was a Spanish painter.  Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land....
More about Joaquin Sorolla, follow the link. 

PICO DEL TEIDE IN VINTAGE DRAWINGS

VINTAGE DRAWINGS 19th 

Pico del Teide (3, 718 m -12, 198 ft)

Tenerife - Canari Islands - Spain 

The mountain 

Pico del  Teide (3,718m - 12,198 ft) (« Teide Peak") is a volcano on Tenerife in the Canary Islands, Spain. Before the 1495 Spanish colonization of Tenerife, the native Guanches called the volcano Echeyde, which in their legends referred to a powerful figure leaving the volcano, which could turn into hell. El Pico del Teide is the modern Spanish name.
Its summit is the highest point in Spain and the highest point above sea level in the islands of the Atlantic. If measured from its base on the ocean floor, it is at 7,500 m-24,600 ft the third highest volcano on a volcanic ocean island in the world after Mauna Kea and Mauna Loa in Hawaii. Its elevation makes Tenerife the tenth highest island in the world. It remains active: its most recent eruption occurred in 1909 from the El Chinyero vent on the northwestern Santiago rift.
Historical volcanic activity on the island is associated with vents on the Santiago or northwest rift (Boca Cangrejo in 1492, Montañas Negras in 1706, Narices del Teide or Chahorra in 1798 and El Chinyero in 1909) and the Cordillera Dorsal or northeast rift (Fasnia in 1704, Siete Fuentes and Arafo in 1705). The 1706 Montañas Negras eruption destroyed the town and principal port of Garachico, as well as several smaller villages.
In 1492, Christopher Columbus reported seeing "a great fire in the Orotava Valley" as he sailed past Tenerife on his voyage to discover the New World. This was interpreted as indicating that he had witnessed an eruption there. Radiometric dating of possible lavas indicates that in 1492 no eruption occurred in the Orotava Valley, but one did occur from the Boca Cangrejo vent.
The last summit eruption from Teide occurred about the year 850 CE, and this eruption produced the "Lavas Negras"  that cover much of the flanks of the volcano.
About 150,000 years ago, a much larger explosive eruption occurred, probably of Volcanic Explosivity Index 5.
The United Nations Committee for Disaster Mitigation designated Teide a Decade Volcano because of its history of destructive eruptions and its proximity to several large towns, of which the closest are Garachico, Icod de los Vinos and Puerto de la Cruz. Teide, Pico Viejo and Montaсa Blanca form the Central Volcanic Complex of Tenerife.
In a publication of 1626, Sir Edmund Scory, who probably stayed on the island in the first decades of the 17th century, gives a description of Teide, in which he notes the suitable paths to the top and the effects the considerable height causes to the travellers, indicating that the volcano had been accessed via different routes before the 17th century. In 1715 the English traveler J. Edens and his party made the ascent and reported their observations in the journal of the Royal Society in London.
After the Enlightenment, most of the expeditions that went to East Africa and the Pacific had Teide as one of the most rewarding targets. The expedition of Lord George Macartney, George Staunton and John Barrow in 1792 almost ended in tragedy, as a major snowstorm and rain swept over them and they failed to reach the peak of Teide, just barely getting past Montaña Blanca.
During an expedition to Kilimanjaro, the German adventurer Hans Heinrich Joseph Meyer visited Teide in 1894 to observe ice conditions on the volcano. He described the two mountains as "two kings, one rising in the ocean and the other in the desert and steppes"
The volcano and its surroundings comprise Teide National Park, which has an area of 18,900 hectares (47,000 acres) and was named a World Heritage Site by UNESCO on June 28, 2007. Teide is the most visited natural wonder of Spain, the most visited national park in Spain and Europe and – by 2015 – the eighth most visited in the world, with some 3 million visitors yearly. A major international astronomical observatory is located on the slopes of the mountain.

PUIG NEULOS PAINTED BY ANDRE DERAIN

ANDRE DERAIN (1880-1954)   

Puig Neulos (1,256m - 4,121ft)

Montagnes à Collioure, 1905 

 National Gallery of Art, Washington DC

The mountain 

The Puig Neulós (1,256m - 4,121ft) (or peak Neulos  or Néoulous) is the highest point  of the Albera Range. Puig Neulós is a Catalan name that has been kept as it is in French. Puig refers to a summit or a mountain rounded, Neulós is analogous to the French "nebulous" or "clouded". There is a mention of the summit in a 1322 text in the Latin form Nebuloso Podio, which has exactly the same meaning.

Puig Neulós marks the border between France and Spain, divided between the towns of Laroque-des-Albères, Sorède in the Pyrenees-Orientales and La Jonquera in the province of Girona (Spain). On the summit, there are some antennas for a digital TV and radio transmitter and there is a paved road on the French side (from el Perthus) restricted to military use. 

Below Puig Neulos, on a line of ridges, is the Roc du Midi, very visible, and on the west  the Fouirous rock southwest exposed outcrop. The summit, as well as most of the southern side of the range is part of the National  Park of Albera Range Natural Reserve.

The painter

André Derain was a French artist, painter, sculptor and co-founder of Fauvism with Henri Matisse.

Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure;  the painting above  showing Collioure mountains and Mount Puig Neulos in the background is dated precisely from that year. Later that year they displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works as les Fauves, or "the wild beasts", marking the start of the Fauvist movement. In March 1906, the noted art dealer Ambroise Vollard sent Derain to London to produce a series of paintings with the city as subject. In 30 paintings (29 of which are still extant), Derain presented a portrait of London that was radically different from anything done by previous painters of the city such as Whistler or Monet. With bold colors and compositions, Derain painted multiple pictures of the Thames and Tower Bridge. These London paintings remain among his most popular work. Art critic T.G Rosenthal: "Not since Monet has anyone made London seem so fresh and yet remain quintessentially English. Some of his views of the Thames use the Pointillist technique of multiple dots, although by this time, because the dots have become much larger, it is rather more simply the separation of colours called Divisionism and it is peculiarly effective in conveying the fragmentation of colour in moving water in sunlight."

In 1907 art dealer Daniel-Henry Kahnweiler purchased Derain's entire studio, granting Derain financial stability. He experimented with stone sculpture and moved to Montmartre to be near his friend Pablo Picasso and other noted artists. 

At Montmartre, Derain began to shift from the brilliant Fauvist palette to more muted tones, showing the influence of Cubism and Paul Cézanne.(According to Gertrude Stein, there is a tradition that Derain discovered and was influenced by African sculpture before the Cubists did.  Derain supplied woodcuts in primitivist style for an edition of Guillaume Apollinaire's first book of prose, L'enchanteur pourrissant (1909). He displayed works at the Neue Künstlervereinigung in Munich in 1910, in 1912 at the secessionist Der Blaue Reiter and in 1913 at the seminal Armory Show in New York. He also illustrated a collection of poems by Max Jacob in 1912.

During the German occupation of France in World War II, Derain lived primarily in Paris and was much courted by the Germans because he represented the prestige of French culture. Derain accepted an invitation to make an official visit to Germany in 1941, and traveled with other French artists to Berlin to attend a Nazi exhibition of an officially endorsed artist, Arno Breker. Derain's presence in Germany was used effectively by Nazi propaganda, and after the Liberation he was branded a collaborator and ostracized by many former supporters.

A year before his death, he contracted an eye infection from which he never fully recovered. He died in Garches, Hauts-de-Seine, Île-de-France, France in 1954 when he was struck by a moving vehicle.

Derain's London paintings were the subject of a major exhibition at the Courtauld Institute from 27 October 2005 to 22 January 2006.

PENA OROEL PAINTED BY JOAQUIN SOROLLA

JOAQUIN SOROLLA Y BATISDA (1863-1923)

 Peña Oroel (1,769 m - 5, 803 ft) 

Spain 

The mountain 
Peña Oroel ((1,769 m - 5, 803 ft)  is a mountain located in Huesca (Spain), near the town of Jaca, in the chain of spanish Pyrenees. Not very high, his great personality makes it visible throughout the city of Jaca and surroundings. Its summit is only 5.5 km as the crow flies from the center of Jaca.
This mountain is part of a cluster of rocks located between the Pre-Pyrenees (Partacua range) and Guara separating  the middle basin of Aragon by the Gállego river.
Many legends on this mountain. One attributes the beginning of the Reconquest of Aragon by Isabella The Catholic when a fire have appeared at the top of the Peña Oroel, giving a mysterious fighting starting signal.  Another legend claims that Pena Oroel hides in its entrails a gold mine or a treasure, which of course was never found. This willingly described as Magic Mountain is part of a triangle that encompasses peaks located in San Adrián de Sasabe and San Juan de la Peña.
The ascent of the Pena Orcel is made easy by the fact that the base of the north face located at 1,200 m (El Parador) can be reached by car. There are only 9 km,  by four wheels vehicle, between Jaca and the  base of the South face. The North face is made of a brown stone wall with a steep slope covered with lush pine forest dominated by spruce in its top layer.

The painter 
Joaquin Sorolla y Bastida  was a Spanish painter.  Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land.

Sorolla's influence on some other Spanish painters, such as Alberto Pla y Rubio and Julio Romero de Torres, was so noted that they are described as "sorollista."

After his death, Sorolla's widow, Clotilde Garcia del Castillo, left many of his paintings to the Spanish public. The paintings eventually formed the collection that is now known as the Museo Sorolla, which was the artist's house in Madrid. The museum opened in 1932.

Sorolla's work is represented in museums throughout Spain, Europe, America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten Impressionist beach scenes made by Sorolla, several of which are now housed in the J. Paul Getty Museum.

In 2007 many of his works were exhibited at the Petit Palais in Paris, alongside those of John Singer Sargent, a contemporary who painted in a similarly impressionist-influenced manner. In 2009, there was a special exhibition of his works at the Prado in Madrid, and in 2010, the exhibition visited the Oscar Niemeyer Museum in Curitiba, Brazil.

From 5 December 2011 to 10 March 2012, several of Sorolla's works were exhibited in Queen Sofia Spanish Institute, in New York. This exhibition included pieces used during Sorolla's eight-year research for The Vision of Spain.

An exhibition titled Sorolla & America explored Sorolla’s unique relationship with the United States in the early twentieth century. The exhibition opened at the Meadows Museum at SMU in Dallas (13 December 2013 - 19 April 2014). From there it traveled to the San Diego Museum of Art (30 May - 26 August 2014) and then to Fundaciun MAPFRE in Madrid (23 September 2014 - 11 January 2015).

The Spanish National Dance Company honored the painter's The Vision of Spain by producing a ballet Sorolla based on the paintings

Early in 1911, Sorolla visited the United States for a second time, and exhibited 152 new paintings at the Saint Louis Art Museum and 161 at the Art Institute of Chicago a few weeks later. Later that year Sorolla met Archie Huntington in Paris and signed a contract to paint a series of oils on life in Spain. These 14 magnificent murals, installed to this day in the Hispanic Society of America building in Manhattan, range from 12 to 14 feet in height, and total 227 feet in length.The major commission of his career, it would dominate the later years of Sorolla's life.

Huntington had envisioned the work depicting a history of Spain, but the painter preferred the less specific 'Vision of Spain', eventually opting for a representation of the regions of the Iberian Peninsula, and calling it The Provinces of Spain. Despite the immensity of the canvases, Sorolla painted all but one en plein air, and travelled to the specific locales to paint them: Navarre, Aragon, Catalonia, Valencia, Elche, Seville, Andalusia, Extremadura, Galicia, Guipuzcoa, Castile, Leon, and Ayamonte, at each site painting models posed in local costume. Each mural celebrated the landscape and culture of its region, panoramas composed of throngs of laborers and locals. By 1917 he was, by his own admission, exhausted. He completed the final panel by July 1919.

Sorolla suffered a stroke in 1920, while painting a portrait in his garden in Madrid. Paralyzed for over three years, he died on 10 August 1923. He is buried in the Cementeri de Valencia, Spain.

The Sorolla Room, housing the Provinces of Spain at the Hispanic Society of America, opened to the public in 1926. The room closed for remodeling in 2008, and the murals toured museums in Spain for the first time. The Sorolla Room reopened in 2010, with the murals on permanent display.