CHIMBORAZO PAINTED BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826-1900)
El Chimborazo (6,263 m -20,548 ft)
Ecuador

In Mount Chimborazo Shown From Riobamba, Ecuador, 1857, Brush and oil on thin board,
29.1 x 44.1 cm (11 7/16 x 17 3/8 in.) Smithsonian/ Cooper Hewitt, Smithsonian Design Museum

 

The mountain
Chimborazo (6,263 m -20,548 ft) is a currently inactive stratovolcano in the Cordillera Occidental range of the Andes ans the highest mountain in Ecuador and the Andes north of Peru ; it is higher than any more northerly summit in the Americas. Chimborazo is not the highest mountain by elevation above sea level, but its location along the equatorial bulge makes its summit the farthest point on the Earth's surface from the Earth's center. Chimborazo is at the main end of the Ecuadorian Volcanic Arc, north west of the town of Riobamba. Chimborazo is in la Avenida de los Volcanes (the Avenue of Volcanoes) west of the Sanancajas mountain chain. Carihuairazo, Tungurahua, Tulabug, and El Altar are all mountains that neighbor Chimborazo. The closest mountain peak, Carihuairazo, is 5.8 mi (9.3 km) from Chimborazo. There are many microclimates near Chimborazo, varying from desert in the Arenal to the humid mountains in the Abraspungo valley. Its last known eruption is believed to have occurred around A.D. 550. Until the beginning of the 19th century, it was thought that Chimborazo was the highest mountain on Earth (measured from sea level), and such reputation led to many attempts on its summit during the 17th and 18th centuries. In 1746, the volcano was explored by French academicians from the French Geodesic Mission. Their mission was to determine the sphericity of the Earth. Their work along with another team in Lapland established that the Earth was an oblate spheroid rather than a true sphere. They did not reach the summit of Chimborazo. In 1802, during his expedition to South America, Baron Alexander von Humboldt, accompanied by Aimé Bonpland and the Ecuadorian Carlos Montufar, tried to reach the summit. From his description of the mountain, it seems that before he and his companions had to return suffering from altitude sickness they reached a point at 5,875 m, higher than previously attained by any European in recorded history. (Incans had reached much higher altitudes previously; see Llullaillaco). In 1831, Jean-Baptiste Boussingault and Colonel Hall reached a new "highest point", estimated to be 6,006 m. On 4 January 1880, the English climber Edward Whymper reached the summit of Chimborazo. The route that Whymper took up Chimborazo is now known as the Whymper route. Edward Whymper, and his Italian guides Louis Carrel and Jean-Antoine Carrel, were the first Europeans to summit a mountain higher than 20,000 feet. As there were many critics who doubted that Whymper had reached the summit, later in the same year he climbed to the summit again, choosing a different route (Pogyos) with the Ecuadorians David Beltrбn and Francisco Campaсa.

The painter
Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes. Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes. Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases. Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.
Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.
This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of Luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.
_________________________________________

2022 - Wandering Vertexes...
by Francis Rousseau

PICO DEL TEIDE SKETCHED BY ALEXANDER VON HUMBOLDT

 

ALEXANDER VON HUMBOLDT (1769-1859)
Pico del Teide (3, 718 m -12, 198 ft)
Tenerife - Canari Islands - Spain

 In  "Intérieur du Cratère du Pic de Teneriffe " Dessin, Alexander von Humboldt

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.

The cartographer
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a While. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783. Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit. Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.

___________________________________________
2022 - Wandering Vertexes...
by Francis Rousseau

LOS FRAILES OR THE ORGANS OF ACTOPAN BY ALEXANDER VON HUMBOLDT

ALEXANDER VON HUMBOLDT (1769-1859)
WILHELM FRIEDRICH ( 1760-1820), engraver
The Organs of Actopan or Los Frailes (1,140 m - 3,740 ft)
Mexico (Hidalgo)

In Vues des Cordillères, et monumens des peuples indigènes de l'Amérique from the book  Voyage aux régions équinoxiales du nouveau continent, 1813

About this engraving and the mountain
On May 23 and 24, Humboldt would tour the Actopan Valley, and then leave on May 25 for Mexico City. During the visit, Humboldt drew and studied the Organs of Actopan, also known as Los Frailes,located 17 km southeast of Actopan in the municipality of El Arenal. Humboldt determines their height trigonometrically.In Actopan. The slender part of the rock is a hundred meters high; but the absolute elevation of the summit of the mountain, where the Organos begin to stand out, is 585 toises (1,140 m - 3,740 ft) .  It is on the way from Mexico to the mines of Guanaxuatotjuon distinguishes from very far away, and standing out on Thoiizon, the rock of Mamanchota: it rises in the middle of a forest of oaks, and oflers a very picturesque aspect. 

The artist and explorer
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a while. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783. Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit. Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.
___________________________________________
2022 - Wandering Vertexes...
by Francis Rousseau

COFRE DE PEROTE / NAUPA-TECVUTÉPTL SKETCHED BY ALEXANDER VON HUMBOLDT

 

ALEXANDER VON HUMBOLDT (1769-1859),
Cofre de Perote/ Naupa-Tecutépetl (4,282 m (14,049 ft)
Mexico

 The mountain
Cofre de Perote, also known by its Nahuatl names Naupa-Tecutépetl ,  meaning something like "Place of Four Mountain" or "Mountain of the Lord of Four Places", is an inactive volcano located in the Mexican state of Veracruz, at the point where the Trans-Mexican Volcanic Belt, home to all of Mexico's highest peaks, joins the Sierra Madre Oriental. Cofre de Perote is Mexico's eighth highest mountain summit.
Cofre de Perote is a shield volcano, shaped very differently from the stratovolcanic Pico de Orizaba, which lies about 50 km (31 mi) to the southeast. A cofre is a coffer, and the name alludes to a volcanic outcropping on the shield which constitutes the peak of the mountain. To the north is the town of Perote, Veracruz, after which the mountain is named. The area surrounding the volcano was protected by the Mexican government as a national park, known as Cofre de Perote National Park (Parque Nacional Cofre de Perote), in 1937.

The artist
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a while. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783. Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit. Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.
___________________________________________
2021 - Wandering Vertexes...
by Francis Rousseau

SOUTHERN ANDES (2) PAINTED BY RHOD WULFARS

 

 

RHOD WULFARS (bn. 1979)
Southern Andes (6,991 m - 22, 838ft)
Argentina

In Somewhere in Andes, acrylic on hardboard, 2018, Private collection @rhodwulfars

About this painting
The painter wrote: “It is not a real mountain. Most of my paintings are born from the combination of the imagination and the hours spent looking, walking and smelling them. I call them "Twins" because they are similar to those reliefs of the Argentinian Andean Coridilla called "acarreos", which are long slopes of very popular loose rock that can be easily viewed. very frequently observed. This painting is therefore that of an unknown mountain, dreamt up which sums up several, and which came out of my unconscious one afternoon when the brush gave it life in a mysterious way without my being able to explain it. "
And indeed this mountain that looks a lot like the Alpamayo in Peru is not the Alpamayo (even if it could be the most famous South West face to be published very soon in this blog) !), any more than it is not the Cerro Poincenot, the Fitz Roy, the Cerro Torre or the Aconcagua, the highest peak in the Andes. These Twins imagined, encompassed, summarized and illustrated all these mountains at the same time. The most amazing being that they do it with a single stroke of the brushes as powerful and definitive as the rocky uplift itself.

The artist
Rhod Wulfars is a contemporary mountain painter using mainly acrylic technique for his paintings.
He was born in 1979 in Mendoza (Argentina). In his website he wrote: "I have spent my whole life by the mountains. On day I started to paint them". Using, in the manner of Nicolas de Staël, a style always beetween abstract and figurative, his very strong and very moving paintings described perfectly the majesty and the spectacular contents of the peaks he paints. Rhod Wulfars makes a surprising use of acrylic medium, in thick paste as one could do with oil paint. He used to named his works only bu numbers, and series letters, but sometime he writes the name of the peaks ans makes it more easy to identify. Other works by this artist on his website : rhodwulfars.wixsite.com/rhodwulfars/

The mountains
The Andes, Andes Mountains or Andean Mountains (Cordillera de los Andes in Spanish ) are the longest continental mountain range in the world, forming a continuous highland along the western edge of South America. The range is 7,000 km (4,350 mi) long, 200 to 700 km (124 to 435 mi) wide (widest between 18°S - 20°S latitude), and has an average height of about 4,000 m (13,123 ft). The Andes extend from north to south through seven South American countries: Venezuela, Colombia, Ecuador, Peru, Bolivia, Chile, and Argentina.
The Andes Mountains are the highest mountain range outside Asia. The highest mountain outside Asia, Argentina's Mount Aconcagua, rises to an elevation of about 6,961 m (22,838 ft) above sea level. The peak of Chimborazo in the Ecuadorian Andes is farther from the Earth's center than any other location on the Earth's surface, due to the equatorial bulge resulting from the Earth's rotation. The world's highest volcanoes are in the Andes, including Ojos del Salado on the Chile-Argentina border, which rises to 6,893 m (22,615 ft).
The Andes are also part of the American Cordillera, a chain of mountain ranges (cordillera) that consists of an almost continuous sequence of mountain ranges that form the western "backbone" of North America, Central America, South America and Antarctica.

 ___________________________________________

2021 - Wandering Vertexes...
by Francis Rousseau

ILLINIZAS VOLCANOES SKETCHED BY FREDERIC EDWIN CHURCH (1826-1900)

FREDERIC EDWIN CHURCH (1826-1900),

Illiniza Sur  (5,248 m-17, 218ft)

Illiniza Norte 5,126 m-16, 818ft)
Ecuador

 In Mount Iliniza, Ecuador, July 3, 1857,  Graphite, brush and white gouache on green paper, 31.1 x 43.2 cm, Smithsonian / Cooper Hewitt, Smithsonian Design Museum 

The volcanoes
The Illinizas are a pair of volcanic mountains that are located to the south of Quito, Ecuador. They are located in the Illinizas Ecological Reserve (Reserva Ecológica Los Illinizas). These twin mountains are separated by a saddle that is about a kilometer long. The peaks are among the highest in Ecuador, with Illiniza Sur (5248 m-17, 218ft) standing slightly taller than Illiniza Norte 5126 m- 16, 818ft) its northern counterpart.
Most guidebooks (for example, Lonely Planet Ecuador, Ecuador: A Climbing Guide) spell the mountain with only one "l" as in Iliniza. The name Illinizas is derived from the Kunza words for "masculine hill."
Whilst Illiniza Sur (the southern peak) is a more difficult climb due to its glacial nature, Illiniza Norte requires little or no climbing expertise, and may be climbed as a trekking peak. A guide is still recommended, however, as the path becomes hard to navigate as it approaches the summit.
The Illinizas are excellent mountains for acclimatization to altitude, and are frequently used as a preparatory climb to higher peaks such as Cotopaxi, Chimborazo and Cayambe.
There is a rustic refuge located between the north and south peaks. It can be reached in one hour by car from El Chaupi, followed by a three-hour climb. The refuge has gas stoves, pots and pans and bunk beds. It is necessary to bring warm sleeping bags and food, but water is available to be boiled. The Englishman Edward Whymper tried and failed twice to make the first ascent of Iliniza Sur. It was climbed for the first time in 1880 by his two Italian guides Jean-Antoine Carrel and Louis Carrel. The first ascent of Iliniza Norte was made in 1912 by the Ecuadorians Nicolás Martínez and Alejandro Villavicencio.

The painter
Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes.
Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes. Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases. Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.
Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.
This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes,” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.

___________________________________________
2021 - Wandering Vertexes...
by Francis Rousseau

EL COTOPAXI PAINTED BY FREDERIC EDWIN CHURCH

 

FREDERIC EDWIN CHURCH (1826-1900)
Cotopaxi (5, 897 m - 19, 347 ft)
Ecuador

In Cotopaxi Seen from Ambato, 1853,  Brush and oil paint, graphite on paperboard, 17.5 × 28.9 cm Smithsonian-Cooper Hewitt

About the Cotopaxi paintings
Church has painted such a lot of times the Cotopaxi than you must have a second look to determine it the one you are looking at is the good one or a new view.
Church took two trips to South America, and stayed predominantly in Quito, Ecuador, the first in 1853 and the second in 1857. One trip was financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian polymath geographer Alexander von Humboldt's Cosmos (about “the Earth, matter, and space”) and his exploration of the continent in the early 1800s; Humboldt had challenged artists to portray the "physiognomy" of the Andes. After Humboldt’s Personal Narrative of Travels to the Equinoctial Regions of America was published in 1852, Church jumped at the chance to travel and study in his icon’s footsteps (literally, as he stayed in Humboldt’s old house) in Quito, Ecuador. When Church returned in 1857 he added to his landscape paintings of the area. After both trips, Church had produced four landscapes of Ecuador: The Andes of Ecuador (1855), Cotopaxi (1855), Cayambe (1858), The Heart of the Andes (1859), and Cotopaxi while erupting in 1862 (see above). The Heart of The Andes as week as the Cotopaxi paintings are precious and precise documentation, scientific studies of every natural feature that exists in that area of the Andes. Every species of plant and animal is readily identifiable; even climatic zonation by altitude is delineated precisely.
In this way, Church pays a unique tribute to Humboldt (who inspired his journey) as well as maintains his Hudson River School roots. “Therefore instead of the fiery crimsons and oranges of his emotional crepuscular scenes, the palette here is comparatively restrained by Church's standards: quiet greens, blues, browns, ochres and subdued grayish purples of sky, stone, verdure and water in full, even daylight.”

The mountain
Cotopaxi (5,897 m - 19,347 ft) is an active stratovolcano in the Andes Mountains, located in the Latacunga canton of Cotopaxi Province, about 50 km (31 mi) south of Quito, and 33 km (21 mi) northeast of the city of Latacunga, Ecuador, in South America. It is the second highest summit in Ecuador, reaching a height of 5,897 m (19,347 ft). It is one of the world's highest volcanoes. Many sources claim that Cotopaxi means "Neck of the Moon" in an indigenous language, but this is unproven. The mountain was honored as a "Sacred Mountain" by local Andean people, even prior to the Inca invasion in the 15th century.
Most of the time, Cotopaxi is clearly visible on the skyline from Quito and is part of the chain of volcanoes around the Pacific plate known as the Pacific Ring of Fire. It has an almost symmetrical cone that rises from a highland plain of about 3,800 metres (12,500 ft), with a width at its base of about 23 kilometres (14 mi). It has one of the few equatorial glaciers in the world, which starts at the height of 5,000 metres (16,400 ft). At its summit, Cotopaxi has an 800 X 550 m wide crater which is 250 m deep. The crater consists of two concentric crater rims, the outer one being partly free of snow and irregular in shape. The crater interior is covered with ice cornices and rather flat. The highest point is on the outer rim of the crater on the north side.
The first recorded eruption of Cotopaxi was in 1534. With 87 known eruptions since then, Cotopaxi is one of Ecuador's most active volcanoes.

The painter
Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes.
Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes. Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases. Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.
Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.
This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes,” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.

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2021 - Wandering Vertexes...
by Francis Rousseau

SOUTHERN ANDES SUMMIT PAINTED BY RHOD WULFARS (bn 1979)

 

 

RHOD WULFARS (bn. 1979)
Southern Andes (6,991 m - 22, 838ft)
Argentina

In Twin, acrylic on hardboard, 2018, Private collection @rhodwulfars

About this painting
The painter wrote: “It is not a real mountain. Most of my paintings are born from the combination of the imagination and the hours spent looking, walking and smelling them. I call them "Twins" because they are similar to those reliefs of the Argentinian Andean Coridilla called "acarreos", which are long slopes of very popular loose rock that can be easily viewed. very frequently observed. This painting is therefore that of an unknown mountain, dreamt up which sums up several, and which came out of my unconscious one afternoon when the brush gave it life in a mysterious way without my being able to explain it. "
And indeed this mountain that looks a lot like the Alpamayo in Peru is not the Alpamayo (even if it could  be the most famous South West face to be published very soon in this blog) !), any more than it is not the Cerro Poincenot, the Fitz Roy, the Cerro Torre or the Aconcagua, the highest peak in the Andes. These Twins imagined, encompassed, summarized and illustrated all these mountains at the same time. The most amazing being that they do it with a single stroke of the brushes as powerful and definitive as the rocky uplift itself.

The artist
Rhod Wulfars is a contemporary mountain painter using mainly acrylic technique for his paintings.
He was born in 1979 in Mendoza (Argentina). In his website he wrote: "I have spent my whole life by the mountains. On day I started to paint them". Using, in the manner of Nicolas de Staël, a style always beetween abstract and figurative, his very strong and very moving paintings described perfectly the majesty and the spectacular contents of the peaks he paints. Rhod Wulfars makes a surprising use of acrylic medium, in thick paste as one could do with oil paint. He used to named his works only bu numbers, and series letters, but sometime he writes the name of the peaks ans makes it more easy to identify. Other works by this artist on his website : rhodwulfars.wixsite.com/rhodwulfars/

The mountains
The Andes, Andes Mountains or Andean Mountains (Cordillera de los Andes in Spanish ) are the longest continental mountain range in the world, forming a continuous highland along the western edge of South America. The range is 7,000 km (4,350 mi) long, 200 to 700 km (124 to 435 mi) wide (widest between 18°S - 20°S latitude), and has an average height of about 4,000 m (13,123 ft). The Andes extend from north to south through seven South American countries: Venezuela, Colombia, Ecuador, Peru, Bolivia, Chile, and Argentina.
The Andes Mountains are the highest mountain range outside Asia. The highest mountain outside Asia, Argentina's Mount Aconcagua, rises to an elevation of about 6,961 m (22,838 ft) above sea level. The peak of Chimborazo in the Ecuadorian Andes is farther from the Earth's center than any other location on the Earth's surface, due to the equatorial bulge resulting from the Earth's rotation. The world's highest volcanoes are in the Andes, including Ojos del Salado on the Chile-Argentina border, which rises to 6,893 m (22,615 ft).
The Andes are also part of the American Cordillera, a chain of mountain ranges (cordillera) that consists of an almost continuous sequence of mountain ranges that form the western "backbone" of North America, Central America, South America and Antarctica.

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2021 - Wandering Vertexes...
by Francis Rousseau

EL CHIMBORAZO SKETCHED BY ALEXANDER VON HUMBOLDT

 

ALEXANDER VON HUMBOLDT (1769-1859)
Chimborazo (6,263 m-20,549 ft)
Ecuador

In  El Chimborazo vu de la plaine de Tapia, 1810

The mountain
El Chimborazo (6,263 m -20,548 ft) is a currently inactive stratovolcano in the Cordillera Occidental range of the Andes ans the highest mountain in Ecuador and the Andes north of Peru ; it is higher than any more northerly summit in the Americas. Chimborazo is not the highest mountain by elevation above sea level, but its location along the equatorial bulge makes its summit the farthest point on the Earth's surface from the Earth's center.
Chimborazo is at the main end of the Ecuadorian Volcanic Arc, north west of the town of Riobamba. Chimborazo is in la Avenida de los Volcanes (the Avenue of Volcanoes) west of the Sanancajas mountain chain. Carihuairazo, Tungurahua, Tulabug, and El Altar are all mountains that neighbor Chimborazo. The closest mountain peak, Carihuairazo, is 5.8 mi (9.3 km) from Chimborazo. There are many microclimates near Chimborazo, varying from desert in the Arenal to the humid mountains in the Abraspungo valley.
Its last known eruption is believed to have occurred around A.D. 550.
Until the beginning of the 19th century, it was thought that Chimborazo was the highest mountain on Earth (measured from sea level), and such reputation led to many attempts on its summit during the 17th and 18th centuries.
In 1746, the volcano was explored by French academicians from the French Geodesic Mission. Their mission was to determine the sphericity of the Earth. Their work along with another team in Lapland established that the Earth was an oblate spheroid rather than a true sphere. They did not reach the summit of Chimborazo.
In 1802, during his expedition to South America, Baron Alexander von Humboldt, accompanied by Aimé Bonpland and the Ecuadorian Carlos Montufar, tried to reach the summit. From his description of the mountain, it seems that before he and his companions had to return suffering from altitude sickness they reached a point at 5,875 m, higher than previously attained by any European in recorded history. (Incans had reached much higher altitudes previously). In 1831, Jean-Baptiste Boussingault and Colonel Hall reached a new "highest point", estimated to be 6,006 m.
On 4 January 1880, the English climber Edward Whymper reached the summit of Chimborazo. The route that Whymper took up Chimborazo is now known as the Whymper route. Edward Whymper, and his Italian guides Louis Carrel and Jean-Antoine Carrel, were the first Europeans to summit a mountain higher than 20,000 feet. As there were many critics who doubted that Whymper had reached the summit, later in the same year he climbed to the summit again, choosing a different route (Pogyos) with the Ecuadorians David Beltrбn and Francisco Campaсa.


The cartographer and artist
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a While. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783. Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit. Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.

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2021 - Wandering Vertexes...
by Francis Rousseau

EL JORULLO SKETCHED BY ALEXANDER VON HUMBOLDT

 

 ALEXANDER VON HUMBOLDT (1769-1859)
El Jorullo (1,329m- 4,360ft)
Mexico

 In Volcan de Jorullo,  Vue des Coridllères et monumens des peuples indigènes de l'Amérique, 1816, Paris chez F. Schoell.

About this drawing
Alexander von Humboldt climbed El Jorullo during the Mexican portion of his scientific expedition to Spanish America. When he visited on 19 September 1803, its multiple cones were still smoldering and the air was extremely hot and filled with volcanic gases. He wrote a detailed description of the climb, noting that his face and those of his travel companions were burned. The volcano enriched the local soil and there was considerable vegetation. Humboldt sketched the volcano in the distance (see above), showing multiple smoking cones. Humboldt undertook the climb with his scientific travel partner Aimé Bonpland, as well as a local Basque settler Ramón Epelde, and two local indigenous servants, whose names have not been recorded. Humboldt noted their assistance on site. Humboldt also notes that he consulted a 1782 publication Rusticatio Mexicana, by Rafael Landívar, who calculated the height of the volcano and the temperature of the thermal waters.


The volcano
El Jorullo  (1,329m- 4,360ft) is a cinder cone volcano in Michoacán, central Mexico, on the southwest slope of the central plateau, 33 miles (53 kilometers) southeast of Uruapan in an area known as the Michoacán-Guanajuato volcanic field.  It is about 6 miles (10 km) east-northeast of La Huacana.  El Jorullo has four smaller cinder cones which have grown from its flanks.  El Jorullo's crater is about 1,300 by 1,640 feet (400 by 500 m) wide and 490 feet (150 m) deep.   El Jorullo is one of two known volcanoes to have developed in Mexico in recent history. The second, born about 183 years later, was named Parícutin after a nearby village that it eventually destroyed. Parícutin is about 50 miles (80 km) northwest of El Jorullo. El Jorullo was first erupted on 29 September 1759. Earthquakes occurred prior to this first day of eruption. Once the volcano started erupting, it continued for 15 years, eventually ending in 1774.
El Jorullo did not develop on a corn field like Parícutin did, but it did destroy what had been a rich agricultural area. It grew approximately 820 feet (250 meters) from the ground in the first six weeks. The eruptions from El Jorullo were primarily phreatic and phreatomagmatic. This 15 year eruption was the longest one El Jorullo has had, and was the longest cinder cone eruption known. Lava flows can still be seen to the north and west of the volcano.  Parícutin and El Jorullo both rose in an area known for its volcanoes. Called the Trans-Mexican Volcanic Belt, the region stretches about 700 miles (1,120 km) from east to west across southern Mexico. The eruptive activity deposited a layer of volcanic rock some 6,000 feet thick, creating a high and fertile plateau. During summer months, the heights snag moisture-laden breezes from the Pacific Ocean; rich farmland, in turn, has made this belt the most populous region in Mexico. Though the region already boasted three of the country's four largest cities: Mexico City, Puebla, and Guadalajara (the area around Parícutin, some 200 miles west of the capital), it was still a peaceful backwater inhabited by Purépecha in the early 1940s. The crater and lake can now be reached by car.


The artist
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a while. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783. Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit. Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.

___________________________________________ 

2021 - Wandering Vertexes and Mountain paintings 
by Francis Rousseau

VICTORIA PEAK PAINTED BY ERNEST CHARTON DE TREVILLE

ERNEST CHARTON DE TREVILLE (1816-1877)

Victoria Peak  (552 m -1,811 ft)

China (Hong Kong)

 

In Victoria Peak vu de la Baie de Hong Kong, Oil on canvas, Private collection 

The mountain
Victoria Peak (552 m -1,811 ft) or 太平山 (in Chinese) also locally called The Peak or Mount Austin an sa few others cantonese and Hong Kong Hakka names such as Taai Pen Saa or Deng or Saan Deng or Ce Kei Saan or Lou Fung... is a mountain in the western half of Hong Kong Island. It is the highest mountain on Hong Kong island, ranked 31 in terms of elevation in the Hong Kong Special Administrative Region ; Tai Mo Shan (957m) being the highest point in the Hong Kong Special Administrative Region.The summit is occupied by a radio telecommunications facility and is closed to the public. However, the surrounding areaf public parks and high-value residential land is the area that is normally meant by the name The Peak. During the19th century, the Peak attracted prominent European residents because of its panoramic view over the city and its relatively temperate climate compared to the sub-tropical climate in the rest of Hong Kong. The sixth Governor of Hong Kong, Sir Richard MacDonnell had a summer residence built on the Peak circa 1868. Those that built houses named them whimsically, such as The Eyrie, and the Austin Arm. These original residents reached their homes by sedan chairs, which were carried up and down the steep slope of Victoria Peak.

The painter
Ernest-Marc-Jules Charton Thiessen of Treville better known as Ernest Charton or Ernesto Charton was a French painter, famous for his pastel portraits and realistic- style customary paintings. He made most of his artistic career in South America - particularly in Argentina Chile and Ecuador -, a continent where his first name, as was customary at the time, was Castilianized, which is why he was known as Ernesto Charton.
He was initially established in Valparaíso (Chile), but in 1848 he moved to Santiago where he opened a studio neighboring that of Raymond Monvoisin, another French pioneer of Chilean painting and also belonging to traveling artists as was also at that time the watercolorist Carlos Wood.
Brother of Edouard Charton, director of the Parisian magazine Le Tour du Monde Ernesto was a typical adventurous artist of the nineteenth century in search of the most exotic expressions of unexplored nature, following in this aspect the motivation of numerous European painters of the time.  Many of his American experiences were reflected in the L'llustration, a magazine also directed by his brother and of which he was a correspondent, sending not only chronicles but also drawings, such as those he sent from the streets of Valparaíso before the bombing. He also sent a drawing of the bombing of Callao, which was recorded by Louis Le Breton and published on June 23.
Tempted by the gold rush in California he embarked on October 25, 1848 on the schooner Rosa Segunda, who arrived in the Galapagos Islands within two weeks to get water; when most of the passengers were ashore, the ship abandoned them to their fate. The painter, like his companions, lost everything, including his works.
Charton, who in 1862 would return to Ecuador, managed to settle in Quito with the help of the French consul. He taught drawing and painting at the University of that city; in addition, he directed the Miguel de Santiago Liceo of Painting, a direct antecedent of the School of Fine Arts of that country. As a result of his stay in Ecuador, he left a 48-watercolors album (cf. above)
He returned to France, but in 1855 he returned to Chile with his family; he gained fame as a portraitist, landscaper and teacher. In this last quality he had a famous controversy with the first director of the Academy of Painting of Santiago. ]
In 1870 he left Chile to Argentina, crossing the Andes. From that experience, his large oil painting was born the following year View of the Andes mountain range (115x197cm) that is today in the National Museum of Fine Arts of that country, in Buenos Aires, city where he settled until his death.
In addition to the countries mentioned, he travelled in Italy, Panama (when it was still part of Colombia) Peru and China (Hong Kong, Macao) (see above). 
As a Photographer, he used snapshots as a base for his paintings, portraying typical clothes, customs and parties that he then tracked to the web.
Charton's works are characterized by their vibrant color and the realistic expression of popular customs and motifs. He left among his students from Chile, Ecuador and Argentina this cultural vision of pictorial realism applied to the theme of each country, leaving aside religious, mythological or literally copied motifs of European models.
His paintings can be seen in museums in Argentina, Chile and Ecuador.

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2021 - Wandering Vertexes / Mountain paintings
By F rancis Rousseau

___________________________________

2021 - Wandering Vertexes
A blog by Francis Rousseau

EL ALTAR / CAPAK URCU PAINTED BY KONSTANTIN BOGAEVSKY

 

KONSTANTIN  BOGAEVSKY (1872-1943)
El Altar / Capak Urcu (5,319 m (17,451 ft)
Ecuador

In Altars, 1907, Private collection 

The mountain
El Altar (5,319 m - 17,451 ft) or Capac Urcu (in Kitchwa)  is an extinct volcano on the western side of Sangay National Park in Ecuador, 170 km (110 mi) south of Quito. Spaniards named it so because it resembled two nuns and four friars listening to a bishop around a church altar. In older English sources it is also called The Altar.
The mountain consists of a large stratovolcano of Pliocene-Pleistocene age with a caldera breached to the west. Inca legends report that the top of Altar collapsed after seven years of activity in about 1460, but the caldera is considered to be much older than this by geologists. Nine major peaks over 5,000 metres (16,400 ft) form a horseshoe-shaped ridge about 3 kilometres (1.9 mi) across, surrounding a central basin that contains a crater lake at about 4,200 m (13,800 ft), known as Laguna Collanes or Laguna Amarilla. 

 The painter
Konstantin Fyodorovich Bogaevsky  was a Russian painter notable for his Symbolist landscapes who  took first lessons in art from Ivan Aivazovsky.  1891-1897 he studied at the Imperial Academy of Arts in the class of Arkhip Kuindzhi. The art of young Konstantin was not popular with the Academy and he was even at some stage temporarily discharged from the Academy for "lack of talent". Despite this, Kuindzhi always had a high respect for his pupil and protected him. In 1898 Konstantin traveled to Italy and France where he became acquainted with the works of Claude Lorrain, whom he proclaimed as his true teacher. His first exhibition was in Moscow in 1898.
From 1900 Bogaevsky worked in Feodosia. The main theme of his works became the symbolist landscapes of a non-existent land (known to his friends as Bogaevia) that he saw only in his dreams. Konstantin Bogaevsky became a popular painter after Maximilian Voloshin published a series of essays titled Konstantin Bogaevsky. Voloshin highly praised the symbolism of Bogaevsky's paintings. Contemporaries often drew parallels between Bogaevsky and Nicholas Roerich.
Bogaevsky was a member of Mir iskusstva, Union of Russian Artists, and the Zhar-Tsvet. In 1906 he exhibited his paintings on Exposition de l'Art Russe organized by Sergei Diaghilev. In 1911 he visited Italy and discovered for himself the paintings of Andrea Mantegna, which were to strongly influence Bogaevsky's own later work.
Bogaevsky returned in 1912 to Feodosia where he was to remain for the rest of his life. He maintained a friendship of many years with another famous Feodosian and a bard of a non-existent land, Alexander Grin, as well as with the Koktebel group of Russian Intelligentsia including Maximilian Voloshin, Marina Tsvetaeva, and Osip Mandelstam.
After the October Revolution Bogaevsky retreated into relative obscurity, although works such as the 1932 Port of an Imaginary City were highly regarded as art in the school of Socialist Realism painting of the DnieproGES.
A minor planet, 3839 Bogaevskij, discovered by Soviet astronomer Nikolai Stepanovich Chernykh in 1971, is named after him.

_____________________________

2020 - Wandering Vertexes...
by Francis Rousseau

EL PANECILLO BY ERNEST CHARTON DE TREVILLE

 

ERNEST CHARTON DE TREVILLE (1816-1877),

El Panecillo (3,016 m - 9,895 ft)

Ecuador

In Vista de Quito, Ecuador , 1860, oil on canvas  58 x 90cm, Private collection

The mountain
El Panecillo (3,016 m - 9,895 ft) from Spanish: "bun" is a hill overlooking Quito at the top of which is the statue of the welle known Virgin of Quito. El Panecillo can be seen at the south end of Venezuela Street, one of the longest in the old town. From its summit, one can see the historic battlefield where Marshal Sucre defeated the Spanish in the decisive battle of independence in 1822 on the slopes of the Pichincha volcano to the west.

The painter
Ernest-Marc-Jules Charton Thiessen of Treville better known as Ernest Charton or Ernesto Charton was a French painter, famous for his pastel portraits and realistic- style customary paintings. He made most of his artistic career in South America - particularly in Argentina Chile and Ecuador -, a continent where his first name, as was customary at the time, was Castilianized, which is why he was known as Ernesto Charton.
He was initially established in Valparaíso (Chile), but in 1848 he moved to Santiago where he opened a studio neighboring that of Raymond Monvoisin, another French pioneer of Chilean painting and also belonging to traveling artists as was also at that time the watercolorist Carlos Wood.
Brother of Edouard Charton, director of the Parisian magazine Le Tour du Monde Ernesto was a typical adventurous artist of the nineteenth century in search of the most exotic expressions of unexplored nature, following in this aspect the motivation of numerous European painters of the time. Many of his American experiences were reflected in the L'llustration , a magazine also directed by his brother and of which he was a correspondent, sending not only chronicles but also drawings, such as those he sent from the streets of Valparaíso before the bombing. He also sent a drawing of the bombing of Callao, which was recorded by Louis Le Breton and published on June 23.
Tempted by the gold rush in California he embarked on October 25, 1848 on the schooner Rosa Segunda, who arrived in the Galapagos Islands within two weeks to get water; when most of the passengers were ashore, the ship abandoned them to their fate. The painter, like his companions, lost everything, including his works.
Charton, who in 1862 would return to Ecuador, managed to settle in Quito with the help of the French consul. He taught drawing and painting at the University of that city; in addition, he directed the Miguel de Santiago Liceo of Painting, a direct antecedent of the School of Fine Arts of that country. As a result of his stay in Ecuador, he left a 48-watercolors album (cf. above)
He returned to France, but in 1855 he returned to Chile with his family; he gained fame as a portraitist, landscaper and teacher. In this last quality he had a famous controversy with the first director of the Academy of Painting of Santiago. ]
In 1870 he left Chile to Argentina, crossing the Andes. From that experience, his large oil painting was born the following year View of the Andes mountain range (115x197cm) that is today in the National Museum of Fine Arts (MNBABA) of that country, in Buenos Aires, city where he settled until his death.
In addition to the countries mentioned, he travelled in Italy, Panama (when it was still part of Colombia) and Peru .
As a Photographer, he used snapshots as a base for his paintings, portraying typical clothes, customs and parties that he then tracked to the web.
Charton's works are characterized by their vibrant color and the realistic expression of popular customs and motifs. He left among his students from Chile, Ecuador and Argentina this cultural vision of pictorial realism applied to the theme of each country, leaving aside religious, mythological or literally copied motifs of European models.
His paintings can be seen in museums in Argentina, Chile and Ecuador.

___________________________________

2020 - Wandering Vertexes
A blog by Francis Rousseau

EL COTOPAXI ATTRIBUTED TO RAFAEL TROYA

RAFAEL TROYA (1845 - 1920)  (attributed to...)
Cotopaxi (5,897 m - 19,347 ft)
Ecuador

 In   Cotopaxi volcano, Ecuador,  oil on canvas  50.1 x 76.2cm, Private collection

The mountain
Cotopaxi is an active stratovolcano in the Andes Mountains, which rises at 5,897 m - 19,347 ft and is located in the Latacunga canton of Cotopaxi Province, about 50 km (31 mi) south of Quito, and 33 km (21 mi) northeast of the city of Latacunga, Ecuador, in South America. It is the second highest summit in Ecuador, reaching a height of 5,897 m (19,347 ft). It is one of the world's highest volcanoes. Many sources claim that Cotopaxi means "Neck of the Moon" in an indigenous language, but this is unproven. The mountain was honored as a "Sacred Mountain" by local Andean people, even prior to the Inca invasion in the 15th century.
Most of the time, Cotopaxi is clearly visible on the skyline from Quito and is part of the chain of volcanoes around the Pacific plate known as the Pacific Ring of Fire. It has an almost symmetrical cone that rises from a highland plain of about 3,800 metres (12,500 ft), with a width at its base of about 23 kilometres (14 mi). It has one of the few equatorial glaciers in the world, which starts at the height of 5,000 metres (16,400 ft). At its summit, Cotopaxi has an 800 X 550 m wide crater which is 250 m deep. The crater consists of two concentric crater rims, the outer one being partly free of snow and irregular in shape. The crater interior is covered with ice cornices and rather flat. The highest point is on the outer rim of the crater on the north side.
The first recorded eruption of Cotopaxi was in 1534. With 87 known eruptions since then, Cotopaxi is one of Ecuador's most active volcanoes.


The painter
Rafael Troya (1845-1920) was an Ecuadorian painter born, the son of the painter Vicente Troya. Being a teenager, he is taken to the Colegio de la Compañia de Jesus in Quito, but he soon abandons the clerical career to dedicate himself to what was his true vocation: painting. With the painter Luis Cadena, he learns the technique of colors. In 1872, he definitely choose the landscape and accompanied Reis and Stübel on their study trips in Ecuador on Nature and Archeology. Troya becomes the portraitist of nature, painting compositions full of color and life. In 1890 he came back in the capital of Imbabureña, and decided to be completely dedicated to his art. There he made several masterpieces, such as the paintings on the Apostles, which today are admired in the Ibarra Cathedral, the Ibarra Foundation, preserved in the Hall of the city of Ibarra; Allegory of love, panoramic view of Ibarra; The earthquake of Imbabura, and several religious canvases that are conserved in some churches of Quito, in the church of Caranqui and in the Museum of the Central Bank of Quito. In his paintings, green and bluish tones predominate, characteristic of his native land. He painted a lot of mountains of the Andes and the most famous volcanoes of the Cordillera.

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2020 - Wandering Vertexes...
by Francis Rousseau

RITACUBA BIANCO PAINTED BY RAFAEL TROYA

 

RAFAEL TROYA (1845-1920)

Ritacuba Bianco ( 5,410 m (17,750 ft) 

Colombia

In  Vista de la Cordillera Oriental desde Tiopullo, 1914, óleo/lienzo, 99 x 169 cm, Museo Nacional del Banco Central del Ecuador, Quito

The mountain
Ritacuba Bianco ( 5,410 m (17,750 ft) (in the background of the painting)  is the highest peak of Cordillera Oriental, in the Andes Mountains of Colombia. It's also named Ritak'uwa, an ancient name from the U'wa indigenous people that live in the lowlands of the National Park Sierra Nevada del Cocuy y Güicán, where the Ritacuba Blanco is located. The summit is accessible from the west via the town of El Cocuy, the village of Güicán and the hamlet of Las Cabañas. Because of global warming, its glacier is melting at very high rates, backing down 25 linear mts per year; same is happening at amazing speeds to all other snow-covered tropical mountains in Colombia.
 In 1950, Ritacuba Blanco's glacier extended down to 4,500 metres (14,800 ft) above sea level; in January 2007 its lowest point was at 4,800 metres (15,700 ft) above sea level. If this melting rate continues, the glacier is expected to disappear before 2025.

The painter
Rafael Troya (1845-1920) was an Ecuadorian painter born, the son of the painter Vicente Troya. Being a teenager, he is taken to the Colegio de la Compañia de Jesus in Quito, but he soon abandons the clerical career to dedicate himself to what was his true vocation: painting. With the painter Luis Cadena, he learns the technique of colors. In 1872, he definitely choose the landscape and accompanied Reis and Stübel on their study trips in Ecuador on Nature and Archeology. Troya becomes the portraitist of nature, painting compositions full of color and life. In 1890 he came back in the capital of Imbabureña, and decided to be completely dedicated to his art. There he made several masterpieces, such as the paintings on the Apostles, which today are admired in the Ibarra Cathedral, the Ibarra Foundation, preserved in the Hall of the city of Ibarra; Allegory of love, panoramic view of Ibarra; The earthquake of Imbabura, and several religious canvases that are conserved in some churches of Quito, in the church of Caranqui and in the Museum of the Central Bank of Quito. In his paintings, green and bluish tones predominate, characteristic of his native land. He painted a lot of mountains of the Andes and the most famous volcanoes of the Cordillera.

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2020 - Wandering Vertexes...
by Francis Rousseau

EL PANECILLO & EL PINCHICHA BY RAFEAL SALAS

 

RAFAEL SALAS (1824-1906)

 El Panecillo  (3,016 m - 9,895 ft)

El Pinchicha (4,784 m -15,696 ft)

Ecuador

In Vista de Quito, con la Colina de El Panecillo y el volcàn Pinchacha. oil on canvas, 1849,  

Museo Arocena, Mexico

About the painting
This painting shows in the foreground the old city of Quito (Ecuador) as it was during the first part of the19th century. In the second plan, in the middle of the composition, onecan see the hill of El Panecillo, at the top of which we sat the satute of the virgin of Quito. On the right,  one can see the Pincahacha volcano...

The mountains
El Panecillo  (3,016 m - 9,895 ft)  from Spanish: "bun" is a hill overlooking Quito at the top of which is the statue of the welle known Virgin of Quito. El Panecillo can be seen at the south end of Venezuela Street, one of the longest in the old town. From its summit, one can see the historic battlefield where Marshal Sucre defeated the Spanish in the decisive battle of independence in 1822 on the slopes of the Pichincha volcano to the west.
El Pichincha (4,784 m -15,696 ft) is an active stratovolcano situated in Ecuador. The two highest peaks of the mountain are Wawa Pichincha (Hispanicized spelling Guagua Pichincha meaning child, baby or small and Ruku Pichincha (Hispanicized Rucu Pichincha meaning old person, in Kithwa rujku langage) (4,698 metres (15,413 ft)). The active caldera is in Wawa Pichincha on the western side of the mountain.
Both peaks are visible from the city of Quito and both are popular acclimatization climbs.
In October 1999, the volcano erupted and covered the city with several inches of ash. Prior to that, the last major eruptions were in 1553 and during the Plinian eruption of 1660, when about 30 cm of ash fell on the city of Quito.
In 1737 several members of the French Geodesic Mission to the Equator, including Charles-Marie de La Condamine, Pierre Bouguer and Antonio de Ulloa, spent 23 days on the summit of Rucu Pichincha as part of their triangulation work to calculate the length of a degree of latitude.
On 17 June 1742, during the same mission, La Condamine and Bouguer made an ascent of Guagua Pichincha and looked down into the crater of the volcano, which had last erupted in 1660. La Condamine compared what he saw to the underworld.
On May 24, 1822, General Sucre's southern campaign, in the context of the Spanish-America war of independence, came to a climax when patriot forces defeated the Spanish colonial army on the south-east slopes of this volcano. The engagement, known as the Battle of Pichincha, secured the independence of the territories of present-day Ecuador.
The most recent significant eruption was in August 1998. On March 12, 2000, a phreatic eruption killed two volcanologists who were working on the lava dome.

The painter
Rafael Salas was an important Ecuadorian landscape and genre painter of nineteenth century South America neoclassicism. He was the last son of the famous Salas artists dynasty among which his half brother Ramon Salas ( 1815-1880), the fist professor a t Academy of fine Arts of Quito and responsive for the taste of Costumbrismo; and above all their father Antonio Salas (1795-1860) a colonial artist specialized in religious themes like La Muerte de San José and La Negacion de San Pedro in the Cathedral of Quito
  
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2019 - Wandering Vertexes 
Un blog de Francis Roussea