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Thursday, February 1, 2024

ORTLES/ORTLER   PEINT PAR   JOHN MARIN

JOHN MARIN (1870-1953) Ortles /Ortler (3,905 m) Italie (Sud Tyrol)  In The Tyrol (1910), aquarelle sur papier , 17 3/4 x 15 1/8 in. Colby College Museum of Art, Waterville ME (Donation John Marin, Jr. & Norma B. Marin)

JOHN MARIN (1870-1953)
Ortles /Ortler (3,905 m)
Italie (Sud Tyrol)

In The Tyrol (1910), aquarelle sur papier , 17 3/4 x 15 1/8 in. Colby College Museum of Art, Waterville ME (Donation John Marin, Jr. & Norma B. Marin)

 
La montagne
Ortles (en italien) ou Ortler (en allemand) est un sommet des Alpes, à 3 905 m, point culminant du massif de l'Ortles, en Italie (Trentin-Haut-Adige). C'était également, jusqu'en 1919, le point le plus élevé de l'Autriche-Hongrie. Pendant la Première Guerre mondiale, l'armée austro-hongroise installe la position la plus élevée de la guerre sur la montagne, équipée de plusieurs pièces d'artillerie. Tous les itinéraires vers le sommet sont des circuits de haute altitude exigeants. Il est recouvert sur la face nord-ouest par un glacier. La face nord de la montagne est considérée comme la plus grande paroi de glace des Alpes orientales, bien que de plus en plus de roches émergent à cause de la fonte des glaciers. La légende de la "chasse fantastique", connue sous le nom de "Wilde Fahr " dont le point de départ était sur l'Ortles, vient de la religion germanique. Dans ce mythe l'Ortles est associé au royaume des morts. Une légende postérieure est plus connue, dans laquelle l'Ortles apparaît comme un géant. Celui-ci est vaincu par le nain Stelvio et moqué dans un poème (« Oh, géant Ortler, comme tu es petit ») puis se fige dans la glace et la neige32. Selon une autre légende, un ours se serait échappé de ses chasseurs par le Hintergrat jusqu'à Trafoi en 1881. Le Bärenloch, un bassin glaciaire sous le Tschierfeck, est également associé à un ours dans l'Ortles : on dit qu'il doit son nom à la découverte d'un squelette d'ours à cet endroit.


Le peintre
John Marin est un peintre aquarelliste, dessinateur et graveur. Il est particulièrement connu pour ses aquarelles expressionnistes de paysages marins du Maine et ses vues de Manhattan. Il est considéré comme un pionnier de l'art moderne américain. Marin, qui était ambidextre, a commencé à dessiner à sept ans et à peindre à seize ans. Il étudie d'abord l'ingénierie mécanique pendant dix-huit mois à partir de 1886 à l' Institut de technologie Stevens et commence sa carrière professionnelle dans le domaine de l'architecture1. De 1890 à 1892, il travaille comme dessinateur pour quatre architectes et de 1892 à 1897, il dirige sa propre entreprise et conçoit six résidences à Union City (New Jersey).
Puis, à vingt huit ans, décidant de faire carrière dans les beaux-arts, il étudie de 1899 à 1901 à la Pennsylvania Academy of the Fine Arts et à l'Art Students League of New York. Parmi ses professeurs se trouvaient  William Merritt Chase. En 1905, il se rend en Europe, sa famille étant originaire de France, il vit à Paris de 1905 à 1909, fréquentant les académies et rencontrant des artistes. Pendant cette période, il voyage en Hollande, en Belgique, en Italie, en Autriche et en Angleterre. Il travaille principalement comme graveur, eaux-fortes inspirées de Paris4dans la tradition de James Abbott McNeill Whistler, mais exécute également un certain nombre d'aquarelles et de pastels. En 1907, il expose au Salon d'Automne. Il retourne à New York en 1909 pour sa première exposition personnelle à la Galerie 291 d'Alfred Stieglitz, rencontré grace au photographe Edward Steichen. Puis il s'installe définitivement aux États-Unis et participe en 1913, à l'Armory Show, et expose dans toutes les manifestations artistiques importantes organisées par la jeune école américaine, et régulièrement à la Fondation Carnegie à Pittsburgh. John Marin assimile les tendances du moment : impressionnisme, cubisme, fauvisme, expressionnisme, ainsi que des notions propres à l'art du paysage en Extrême-Orient, mais il reste indépendant et développe son propre style dans une forme d'expressionnisme personnelle, avec des explosions semi-abstraites de lignes, de formes et de couleurs animant des scènes avec une énergie unique. En laissant toutes les questions financières entre les mains de Stieglitz, Marin jouit d'une liberté absolue pour poursuivre son travail. Au cours des années suivantes, Marin peint quelques-unes des œuvres les plus importantes de sa carrière, inspirées par la ville de New York. Ses sujets sont les monuments architecturaux de la ville et les forces structurelles de base qui semblaient s'y trouver. Cependant, en 1914, il prit une nouvelle direction, s'éloignant de la ville et se tournant vers la nature, c'est l'année où il découvre le Maine1. Ainsi, il vit à Brooklyn, puis à Cliffside, dans le New Jersey, de 1916 à 1953, passant les étés dans les Berkshires, les Adirondacks, le Delaware, mais surtout sur la côte du Maine, à Small Point ou Deer Island dans la Baie de Penobscot et de 1933 à 1953 au cap Split. À l'exception des étés 1929 et 1930, qu'il passe à Taos, invité par Mabel Dodge Luhan, où il réalise une centaine d'aquarelles du Nouveau-Mexique. En 1936, une rétrospective est organisée par le Museum of Modern Art et en 1950 à la Biennale de Venise.

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2024 - Wandering Vertexes / Gravir les montagnes en peinture
Un blog de Francis Rousseau

Wednesday, March 15, 2023

ORTLER / ORTLES PEINT PAR JOSEPH RUMMELSPACHER

JOSEPH RUMMELSPACHER (1852-1921) Ortler / Ortles (3,905 m -12,812 ft) Italie / Frontière Autrichienne   In Sommet Nord de l'Ortler, Sud Tyrol, Austriche. huile et tempera sur carton , 46 x 75 cm. Signé et daté 1899, Courtesy John Mitchell Fine Paintings, London


JOSEPH RUMMELSPACHER (1852-1921)
Ortler / Ortles (3,905 m -12,812 ft)
Italie / Frontière Autrichienne

 In Sommet Nord de l'Ortler, Sud Tyrol, Austriche. huile et tempera sur carton , 46 x 75 cm. Daté 1899, Courtesy John Mitchell Fine Paintings Gallery, London


La montagne
Ortles (en italien) ou Ortler (en allemand) est un sommet des Alpes, à 3 905 m, point culminant du massif de l'Ortles, en Italie (Trentin-Haut-Adige). C'était également, jusqu'en 1919, le point le plus élevé de l'Autriche-Hongrie. Pendant la Première Guerre mondiale, l'armée austro-hongroise installe la position la plus élevée de la guerre sur la montagne, équipée de plusieurs pièces d'artillerie. Tous les itinéraires vers le sommet sont des circuits de haute altitude exigeants. Il est recouvert sur la face nord-ouest par un glacier. La face nord de la montagne est considérée comme la plus grande paroi de glace des Alpes orientales, bien que de plus en plus de roches émergent à cause de la fonte des glaciers. La légende de la "chasse fantastique", connue  sous le nom de "Wilde Fahr " dont le point de départ  était sur l'Ortles, vient de la religion germanique. Dans ce mythe  l'Ortles est associé au royaume des morts. Une légende postérieure est plus connue, dans laquelle l'Ortles apparaît comme un géant. Celui-ci est vaincu par le nain Stelvio et moqué dans un poème (« Oh, géant Ortler, comme tu es petit ») puis se fige dans la glace et la neige32. Selon une autre légende, un ours se serait échappé de ses chasseurs par le Hintergrat jusqu'à Trafoi en 1881. Le Bärenloch, un bassin glaciaire sous le Tschierfeck, est également associé à un ours dans l'Ortles : on dit qu'il doit son nom à la découverte d'un squelette d'ours à cet endroit.

Le peintre
Joseph Rummelspacher fut un peintre paysagiste allemand. Il était le fils du conseiller de la chancellerie secrète, directeur de la chancellerie secrète au ministère de la Justice de Berlin et capitaine a. D. Wilhelm Rummelspacher et petit-fils de l'aubergiste Joseph Kroll (1797-1848) de Breslau, fondateur de l'établissement Kroll à Berlin. Après avoir obtenu son diplôme d'études secondaires en 1870, il fréquente l' Académie des Arts de Berlin. De 1871 à 1873, il fut l'élève de Theodor Hagen à l' école d'art grand-ducale saxonne de Weimar. C'est là ce moment là qu'il rejoignit le mouvement réaliste connu sous le nom d'école de peinture de Weimar, proche de l'Ecole de Barbizon
.
Les tableaux de Rummelspacher traitaient principalement de motifs inspirés par la Forêt-Noire, plus tard du Mark Brandenburg et du Mecklembourg. Des voyages d'études l'ont amené e.a. 1879 en Suisse, dans le nord de l'Italie, en Corse( 1887 ou avant), 1887 (également 1889 et 1890 ?), dans le sud de la Norvège vers le Spitzberg et les montagnes du Harz  et 1891  et vers le Tyrol du Sud et 1903.
Il s'est également intéressé  aux panoramas . Pour l' exposition commerciale de Berlin en 1896, il dirige la production d'un panorama, à travers lequel il se fait connaître d'un large public. Pour l' exposition universelle de Chicago en 1893, il peint deux panoramas de paysages viticoles allemands. Pour l' exposition universelle de Saint-Louis de 1904, il est chargé des dioramas Les Alpes allemandes et tyroliennes.
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2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau 

Monday, July 13, 2020

GRAN ZEBRU PAINTED BY FRANZ JOSEPH BLASCHKE



 


FRANZ JOSEPH BLASCHKE (1916-1984)
Gran Zebru or Königspitze (3,851m- 12,635 ft)
Italy
In Königspitze (or Gran Zebru) South Tyrol, watercolor, Courtesy John Mitchell Gallery, London, 

The mountain
The Gran Zebru (3,851m- 12,635 ft) or Königspitze (in german ) is a mountain of the Ortler Alps on the border between South Tyrol and the Province of Sondrio, Italy. After Ortler, it is the second highest peak in the Ortler Alps, know to have been a important strategic place during World War I. The Gran Zebru forms the southeast end of this Dolomit Range. The Italian name Gran Zebru (Big Zebra) derives from Val Zebru and is etymologically unclear. It is thought an origin of the pre-Roman name Gimberu.
The mountain was first climbed (the date is controversial) on August 3, 1854, by Stephan Steinberger or 3 August 2864 by Tuckett, Buxton and the Biner Brothers. The mountain can be dangerous in warm weather, when the snow and ice can become unstable and particularly nowadays with the global warning melt of the permafrost. The worst day for climbing fatalities on the mountain occurred on August 5, 1997, when seven people were killed in two separate incidents. On June 23, 2013, six were killed, also in two separate incidents.

The painter
Son of a drawing teacher and an architect, Franz Josef Blaschke is in Bad Salzungen. After a successful training as a wood sculptor in Eslohe, he received a scholarship for a student at the State Sculpture School with Dell Antonio in 1937.
During the Second World War, the artist moved to France, then to Russia and Poland. 
After the war, he continued his art studies at the Düsseldorf Academy with Fritz Reusing (portrait) and Hermann Baptist Hundt (landscape painting) and became a pupil of Friedrich Vordemberge at the Cologne school after 1948.
Blaschke is today mostly known for his  landscapes, in which he explored the limits of form, often approaching abstraction. Its panoramas with striking graphic elements as well as its very colorful views have posed it among the successors of Oskar Kokoschka.
He produced sculptures in public space for the University Dental Clinic in Bonn, for the Gerling Group in Cologne and for an Insurance Company in Düsseldorf.
The artist has made himself known through commissions for portraits of famous German personalities such as Chancellor Konrad Adenauer, Otto Wolff von Amerongen, Willy Millowitsch, Claudia Doren and others .... Franz Josef Blaschke has always been attached to paint the psychiology of the characters rather than making a physical description similar or detailed.

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2020 - Wandering Vertexes...
by Francis Rousseau

Saturday, April 13, 2019

THE ORTLER BY EDWARD T. COMPTON


EDWARD T. COMPTON (1849-1921)
Ortler (3,905 m -12,812 ft)
Italy (South Tyrol) 

In The Ortler South Tyrol, watercolour on paper,  26 x 37cm, John Mitchell Gallery 

The mountain 
The Ortler (3,905 m -12,812 ft) is the highest mountain in the Eastern Alps outside the Bernina Range. It is the main peak of the Ortler Range. It is the highest point of the Southern Limestone Alps, of the Italian province of South Tyrol, of Tyrol overall, and, until 1919, of the Austrian-Hungarian empire. In German the mountain is commonly referred to as "König Ortler" (King Ortler), like in the unofficial hymn of South Tyrol, the Bozner Bergsteigerlied.
The Ortler Alps were one of the main battlegrounds between Austrian and Italian troops in the First World War, being on the border of Italy and the Austrian Empire. The advantage of owning the highest point was very important. The Austrian troops had quickly occupied the highest peaks, and the Italian troops' main goal, for four years, was to dislodge them from the positions. In the mid-1990s, a mountain guide discovered two guns that had been stationed very near the top of the Ortler but had been hidden by snow ever since. The discovery was kept secret until the 200th anniversary of the first ascent in 2004. The cannons are now on display in a museum in Trafoi.

The painter 
Edward Theodore Compton, usually referred to as E. T. Compton, (1849 – 1921) was an English-born, German artist, illustrator and mountain climber, not to be confused with his son Edward Harrison Compton, also a mountain painter. He is well known for his paintings and drawings of alpine scenery, and as a mountaineer made 300 major ascents including no fewer than 27 first ascents.
Initially painting in the English romantic tradition, Compton later developed a more realistic representation of nature, being guided by his true artistic ideas while retaining topographical accuracy. Even his early watercolors show the great importance of brightness and light and his work is also remarkable for its portrayal of the elements such as water and air, including ascending mist and fog. He can be regarded as an impressionist.
He attended various art schools, including, for a time, the Royal Academy in London, but otherwise he was mainly self-taught in art.

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2019 - Wandering Vertexes...
by Francis Rousseau 

Wednesday, September 26, 2018

THE ZUGSPITZE AND THE WAXENSTEIN BY EMIL NOLDE

https://wanderingvertexes.blogspot.com/2018/09/the-zugspitze-and-waxenstein-by-emil.html

EMIL NOLDE (1867-1956) 
Die Zugspitze (2,962m - 9,718 ft) 
Die Waxenstein (2,277m - 7,470ft)
 Germany (Bavaria)

  In  The Zugspitze and Waxenstein, postcard 

About this work 
The postcards series date from  pre-expressionist phase of Nolde’s career (though he was around 30 when he created them). After hiking in the Swiss Alps, Nolde did a painting, Mountain Giants, presenting the mountains in human form. Nolde wrote : “The picture went to the annual exhibition in Munich in 1896. Ferdinand Hodler’s picture “Night”  which established his fame, was also there. But my “Mountain Giants" was soon returned, rejected… In those days there was a general and stormy derision and ridicule about each of Hodler’s pictures. ‘And his colors are as ugly as can be possible!’ What help was my contradiction and my firm conviction that his sinuous, pushing, wry bodies are part of the character of the mountain folk, just as the firs on the mountain slopes are gnarled and grown oddly.” From then, he painted practically every Swiss Alps Summit in human form: the Zugspitze, the Waxenstein, the Eiger, the Monch, the Jungfrau, the Grand Saint- Gothard, Piz Bernina, the Morteratch, the Ortler, the Finsteraarhorn... they will be posted one after one in this blog, the Cervin / Matterhorn being the first one.

The mountain 
The Zugspitze (2,962m -9,718 ft) above sea level, is the highest peak of the Wetterstein Mountains as well as the highest mountain in Germany. It lies south of the town of Garmisch-Partenkirchen, and the border between Germany and Austria runs over its western summit. South of the mountain is the Zugspitzplatt, a high karst plateau with numerous caves. On the flanks of the Zugspitze are three glaciers, including the two largest in Germany: the Northern Schneeferner with an area of 30.7 hectares and the Höllentalferner with an area of 24.7 hectares. The third is the Southern Schneeferner which covers 8.4 hectares.
The Waxenstein (2,277m - 7,470ft) is an Alpine summit, at an altitude of 2,227 m, in the Wetterstein, Germany (Bavaria). It is composed of five points: the Großer Waxenstein ; the Vorderer Waxenstein  ; the Zwölferkopf ; the Mittagscharte and  the Männ.

The painter 
Emil Nolde (born Emil Hansen) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke (The Bridge) of Dresden in 1906, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.

2018 - Wandering Vertexes...
Un blog de Francis Rousseau, #BlogWanderingVertexes, #mountainpaintings


Monday, March 26, 2018

GROSSGLOCKNER BY HEINRICH. C. BERANN



HEINRICH C. BERANN  (1915-1999) 
Grossglockner or Glokner (3,798 m - 12,460ft)
Austria 

 In  Grossglockner poster, 1932

The mountain  
The Grossglockner (or just Glockner) (3,798 m - 12,460 ft) is above the Adriatic, the highest mountain of Austria and the highest mountain in the Alps east of the Brenner Pass. It is part of the larger Glockner Group of the Hohe Tauern range, situated along the main ridge of the Central Eastern Alps and the Alpine divide. The Pasterze, Austria's most extended glacier, lies on the Grossglockner's eastern slope. The characteristically pyramid-shaped peak actually consists of two pinnacles, the Grossglockner and the Kleinglockner (3,770 m -12,370 ft), from German: klein, "small"), separated by a saddle-like formation known as the Glocknerscharte.
The history of the climbs started with French-born natural scientist Belsazar Hacquet, from 1773 professor of anatomy at the Academy of Ljubljana. He travelled the Eastern Alps from 1779 to 1781 and published an itinerary in 1783, describing the Glokner mountain and stating that it had not been climbed yet. He estimated the mountain's height with converted (3,793 m -12,444 ft) and left an engraving illustrating Grossglockner and Pasterze, the first known depiction of the mountain.
Inspired by Hacquet's book and the first ascent of the Mont Blanc in 1786, the Gurk prince-bishop Count Franz Xaver of Salm (1749–1822) together with his vicar general Sigismund Ernst Hohenwart  (1745–1825) and Baron Franz Xaver von Wulfen (1728–1805) started efforts for a Grossglockner expedition. They engaged two peasants from Heiligenblut as mountain guides to do the first explorations for an ascent through the Leitertal valley, which is the side of Grossglockner with the least ice (people feared glaciers in these times). These valiant men, called "Glockners" in the records, did more than they were ordered to do - and probably reached the Kleinglockner summit on 23 July 1799.
One month later the bishop's expedition started: a mountain hut (the first Salm Hut) had been built and the path in the Leitertal valley was prepared so that the bishop could use a horse to reach it. 30 people, among them Salm, Hohenwart and Wulfen, were part of the expedition. They suffered with bad weather and a first effort failed, but on 25 August 1799 Hohenwart and at least four other people, including the two "Glockners", reached - again - the Kleinglockner, where they installed one of the first summit crosses (one of the main goals of the church expedition). Hohenwart's reports did not tell clearly that they had not touched the highest point but Bishop Salm (who had reached the Adlersruhe rock at 3,454 m (11,332 ft)) was informed. Dissatisfied, he invited another, even bigger expedition the next year.
On 28 July 1800, 62 people, among them the pedagogue Franz Michael Vierthaler and the botanist David Heinrich Hoppe, started again into the Leitertal valley. Four peasants and carpenters (the "Glockners" and two others who are not known) did a track in the snow, had installed fixed ropes at some steeper sections up to the end of the Glocknerleitl, and even built a second refuge, called Hohenwarte Hut. The vanguard reached the Kleinglockner peak, however, according to the expedition records by the Dellach priest Franz Joseph Horasch (Orasch), only the four guides and Mathias Hautzendorfer, the local priest of the Rangersdorf parish, were able to cross the Obere Glocknerscharte and climb the Grossglockner summit. Hautzendorfer had to be persuaded to venture the step and administered the last rites in advance.
The two "Glockners" are usually identified as the brothers Joseph (Sepp) and Martin Klotz, however, this surname is not listed in the Heiligenblut parish register. A local peasant named Sepp Hoysen is documented as a member of the second Grossglockner expedition in 1802, and the surveyor Ulrich Schiegg mentioned one Martin Reicher as "Glockner" guide. The peasants and several other members of the expedition (among them Schiegg and his young apprentice Valentin Stanič, who climbed Mt. Watzmann for the first time some weeks later) did the ascent again the next day and finally installed the summit cross and a barometer on the Grossglockner summit.
Bishop Salm undertook two more ascents in 1802 (with Hohenwart reaching the summit) and in 1806, however, he himself never climbed beyond the Adlersruhe rock. The climbing of the Grossglockner was also described by the botanist Josef August Schultes, who explored the massif together with Count Apponyi in 1802. No further ascents were made during the Napoleonic Wars, the huts decayed and were plundered by locals. In the following Vormärz era, however, the mountain became a popular venue for Alpinists like Hermann and Adolf Schlagintweit, who all followed the route of the first ascent.
By the mid 19th century, the developing Alpine tourism began to alter the traditional agriculture economy in the Heiligenblut area. Therefore, the people of Kals tried to lay out a straight ascent from the western side, which however was not reached until Julius von Payer explored the ridge between Glöcknerleitl and Ködnitzkees in 1863. Johann Stüdl had a via ferrata erected along the southwestern ridge the next year and the Stüdlhütte erected at its foot in 1868. Already in 1869, most expeditions to the summit started in Kals. The first winter ascent of the Grossglockner was made on January 2, 1875 by William Adolf Baillie Grohman, a member of the Alpine Club. In 1876 Count Pallavicini and his guide Hans Tribusser undertook the first expedition up the steep glaciated Northeast Face, chopping 2,500 steps into the Pallavicinirinne in an ice climbing master stroke not repeated for 23 years.
In 1879, Count Pallavicini dedicated a new iron summit cross on the occasion of the silver wedding of Emperor Franz Joseph of Austria and Empress Elisabeth; both had visited Heiligenblut and walked to the present-day Franz-Josefs-Höhe viewpoint in 1865. The cross was installed on 2 October 1880. Pallavicini also had the Archduke John Hut erected at the former Adlersruhe resting place of Bishop Salm, today the highest situated mountain hut in Austria. The Austrian Alpine Club built the new Salmhütte and the Glocknerhaus along the alpine route from Heiligenblut.
A first ascent by skiing was made in 1909 and the circumnavigation of the massif soon became a popular ski mountaineering tour. The Grossglockner became Austria's highest mountain, when the South Tyrolean Ortler region had to be ceded to the Kingdom of Italy according to the 1919 Treaty of Saint-Germain, which promoted its reputation as a tourist attraction.

The artist
Heinrich C. Berann, (1915–1999) the father of the modern panorama map, was born into a family of painters and sculptors in Innsbruck, Austria. He taught himself by trial and error. In the years 1930-1933 he attended the arts and design school "Bundeslehranstalt für Malerei" in Innsbruck.
Winning of first prize at a competition for a panorama map created great enthusiasm in him. Using his artistic heritage and new self-discovered techniques he invented a new way of painting landscapes for tourist purposes. The further development of both these panorama maps and his artistic style was influenced by lasting impressions he received during his military service in German Army in Norway and Northern Finland in 1942.
In 1962 he painted Mount Everest for the National Geographic Society, one of his most famous panoramic maps. He worked with Marie Tharp and Bruce C. Heezen to produce maps of the entire ocean floor in 1977.
He later created four panoramas for the United States National Park Service: Yellowstone National Park, North Cascades National Park, Yosemite National Park and finally Mt. McKinley National Park (now Denali). He was very sick when he painted Denali (above) - but he finished it in the age of 81.
In 2000, Tom Patterson of the National Park Service explored ways of digitally creating panoramas like Berann did for the Park Service.

Friday, February 16, 2018

THE GROSSGLOCKNER BY NIKOLAI ASTUDIN


NIKOLAI ASTUDIN (1847-1925)   
Grossglockner or Glokner (3,798 m - 12,460ft)
Austria 

In Alpine landscape with the the Grossglockner,  1879, oil on canvas 

The mountain  
The Grossglockner (or just Glockner) (3,798 m - 12,460 ft) is above the Adriatic, the highest mountain of Austria and the highest mountain in the Alps east of the Brenner Pass. It is part of the larger Glockner Group of the Hohe Tauern range, situated along the main ridge of the Central Eastern Alps and the Alpine divide. The Pasterze, Austria's most extended glacier, lies on the Grossglockner's eastern slope. The characteristically pyramid-shaped peak actually consists of two pinnacles, the Grossglockner and the Kleinglockner (3,770 m -12,370 ft), from German: klein, "small"), separated by a saddle-like formation known as the Glocknerscharte.
The history of the climbs started with French-born natural scientist Belsazar Hacquet, from 1773 professor of anatomy at the Academy of Ljubljana. He travelled the Eastern Alps from 1779 to 1781 and published an itinerary in 1783, describing the Glokner mountain and stating that it had not been climbed yet. He estimated the mountain's height with converted (3,793 m -12,444 ft) and left an engraving illustrating Grossglockner and Pasterze, the first known depiction of the mountain.
Inspired by Hacquet's book and the first ascent of the Mont Blanc in 1786, the Gurk prince-bishop Count Franz Xaver of Salm (1749–1822) together with his vicar general Sigismund Ernst Hohenwart  (1745–1825) and Baron Franz Xaver von Wulfen (1728–1805) started efforts for a Grossglockner expedition. They engaged two peasants from Heiligenblut as mountain guides to do the first explorations for an ascent through the Leitertal valley, which is the side of Grossglockner with the least ice (people feared glaciers in these times). These valiant men, called "Glockners" in the records, did more than they were ordered to do - and probably reached the Kleinglockner summit on 23 July 1799.
One month later the bishop's expedition started: a mountain hut (the first Salm Hut) had been built and the path in the Leitertal valley was prepared so that the bishop could use a horse to reach it. 30 people, among them Salm, Hohenwart and Wulfen, were part of the expedition. They suffered with bad weather and a first effort failed, but on 25 August 1799 Hohenwart and at least four other people, including the two "Glockners", reached - again - the Kleinglockner, where they installed one of the first summit crosses (one of the main goals of the church expedition). Hohenwart's reports did not tell clearly that they had not touched the highest point but Bishop Salm (who had reached the Adlersruhe rock at 3,454 m (11,332 ft)) was informed. Dissatisfied, he invited another, even bigger expedition the next year.
On 28 July 1800, 62 people, among them the pedagogue Franz Michael Vierthaler and the botanist David Heinrich Hoppe, started again into the Leitertal valley. Four peasants and carpenters (the "Glockners" and two others who are not known) did a track in the snow, had installed fixed ropes at some steeper sections up to the end of the Glocknerleitl, and even built a second refuge, called Hohenwarte Hut. The vanguard reached the Kleinglockner peak, however, according to the expedition records by the Dellach priest Franz Joseph Horasch (Orasch), only the four guides and Mathias Hautzendorfer, the local priest of the Rangersdorf parish, were able to cross the Obere Glocknerscharte and climb the Grossglockner summit. Hautzendorfer had to be persuaded to venture the step and administered the last rites in advance.
The two "Glockners" are usually identified as the brothers Joseph (Sepp) and Martin Klotz, however, this surname is not listed in the Heiligenblut parish register. A local peasant named Sepp Hoysen is documented as a member of the second Grossglockner expedition in 1802, and the surveyor Ulrich Schiegg mentioned one Martin Reicher as "Glockner" guide. The peasants and several other members of the expedition (among them Schiegg and his young apprentice Valentin Stanič, who climbed Mt. Watzmann for the first time some weeks later) did the ascent again the next day and finally installed the summit cross and a barometer on the Grossglockner summit.
Bishop Salm undertook two more ascents in 1802 (with Hohenwart reaching the summit) and in 1806, however, he himself never climbed beyond the Adlersruhe rock. The climbing of the Grossglockner was also described by the botanist Josef August Schultes, who explored the massif together with Count Apponyi in 1802. No further ascents were made during the Napoleonic Wars, the huts decayed and were plundered by locals. In the following Vormärz era, however, the mountain became a popular venue for Alpinists like Hermann and Adolf Schlagintweit, who all followed the route of the first ascent.
By the mid 19th century, the developing Alpine tourism began to alter the traditional agriculture economy in the Heiligenblut area. Therefore, the people of Kals tried to lay out a straight ascent from the western side, which however was not reached until Julius von Payer explored the ridge between Glöcknerleitl and Ködnitzkees in 1863. Johann Stüdl had a via ferrata erected along the southwestern ridge the next year and the Stüdlhütte erected at its foot in 1868. Already in 1869, most expeditions to the summit started in Kals. The first winter ascent of the Grossglockner was made on January 2, 1875 by William Adolf Baillie Grohman, a member of the Alpine Club. In 1876 Count Pallavicini and his guide Hans Tribusser undertook the first expedition up the steep glaciated Northeast Face, chopping 2,500 steps into the Pallavicinirinne in an ice climbing master stroke not repeated for 23 years.
In 1879, Count Pallavicini dedicated a new iron summit cross on the occasion of the silver wedding of Emperor Franz Joseph of Austria and Empress Elisabeth; both had visited Heiligenblut and walked to the present-day Franz-Josefs-Höhe viewpoint in 1865. The cross was installed on 2 October 1880. Pallavicini also had the Archduke John Hut erected at the former Adlersruhe resting place of Bishop Salm, today the highest situated mountain hut in Austria. The Austrian Alpine Club built the new Salmhütte and the Glocknerhaus along the alpine route from Heiligenblut.
A first ascent by skiing was made in 1909 and the circumnavigation of the massif soon became a popular ski mountaineering tour. The Grossglockner became Austria's highest mountain, when the South Tyrolean Ortler region had to be ceded to the Kingdom of Italy according to the 1919 Treaty of Saint-Germain, which promoted its reputation as a tourist attraction.

The painter 
Nikolai Lvovoch Astudin ( Николай Львович Астудин)  was a Russian landscape painter.
Astudin was the son of an officer and completed his school education in Saint Petersburg. He then became a student of the landscape painter Armand-Théophile Cassagne (1823-1907) in Paris. Study trips lead him to Finland, to the Alpine countries and to Italy. As early as 1876 and 1877 Astudin had exhibitions in Berlin,  and in 1885 in Zurich.  Among his Bonner motifs are the Rhine Bridge (1898) and the Godesburg. In 1912, he moved to Oberlahnstein, where he lived until his death. In this late phase, he mainly painted the Rhine motifs and repeatedly painted Lahneck Castle and The Lorelei (above).  Astudin was widely known for his Rhine paintings and the numerous reproductions of his Rhine views. His work is an expression of the Rhine and Eifelromantik of the early 20th century.
_______________________________

2018 - Wandering Vertexes...
by Francis Rousseau 

Wednesday, February 14, 2018

PIZ BERNINA & MORTERATSCH BY EMIL NOLDE


Emil Nolde  (1867-1956) 
Piz Bernina (4, 049m- 13, 283ft) 
Switzerland - Italy border 

In  La belle Bernina et le vieux Morteratsch, postcard 

About this work 
The postcards series date from  pre-expressionist phase of Nolde’s career (though he was around 30 when he created them). After hiking in the Swiss Alps, Nolde did a painting, Mountain Giants, presenting the mountains in human form. Nolde wrote : “The picture went to the annual exhibition in Munich in 1896. [Ferdinand] Hodler’s picture “Night”  which established his fame, was also there. But my “Mountain Giants" was soon returned, rejected… In those days there was a general and stormy derision and ridicule about each of Hodler’s pictures. ‘And his colors are as ugly as can be possible!’ What help was my contradiction and my firm conviction that his sinuous, pushing, wry bodies are part of the character of the mountain folk, just as the firs on the mountain slopes are gnarled and grown oddly.” From then, he painted practically every Swissw Alps Summit in human form: the Zugspitze, the Waxenstein, the Eiger, the Monch, the Jungfrau, the Grand Saint- Gothard, Piz Bernina, the Morteratch, the Ortler, the Finsteraarhorn... they will be posted one after one in this blog, the Cervin / Matterhorn being the first one.

The mountain 
Piz Bernina or Pizzo Bernina (4, 049m- 13, 283ft)  is the highest mountain in the Eastern Alps, the highest point of the Bernina Range, and the highest peak in the Rhaetian Alps. It is located south of Pontresina and near the major Alpine resort of St. Moritz, in the Engadin valley with the massif partially in Italy.  The mountain can be seen from different viewpoints with the use of ski-lifts from Diavolezza, Piz Corvatsch or Piz Nair. It is also the most easterly mountain higher than 4,000 m (13,000 ft) in the Alps, the highest point of the Swiss canton of Graubünden, and the fifth-most prominent peak in the Alps. The minor summit (4,020 m -13,190 ft) known as La Spedla is the highest point in the Italian Lombardy region. The mountain was named after the Bernina Pass in 1850 by Johann Coaz, who also made the first ascent.  The prefix Piz comes from the Romansch language in Graubünden; any mountain with that name can be readily identified as being located in southeastern Switzerland.
The Morteratsch Glacier  is the largest glacier in the Bernina Mountains. It is located in the canton of Grisons in Upper Engadine. It has a maximum length of 7 km with a height difference of 2,000 m and ends at the highest point on Punta Perrucchetti at 4,020 m. It covers with the Pers glacier about 16 km2. Between 1878 and 1998, the glacier retreated 1.8 km with an annual average of about 17.2 meters. The decline has accelerated in recent years with an average of 30 meters per year from 1999-2005. At the confluence with the Pers Glacier, the Morteratsch Glacier behaves like a natural dam blocking the runoff and the origin of a small lake.

The painter 
Emil Nolde (born Emil Hansen) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke (The Bridge) of Dresden in 1906, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.
Nolde's intense preoccupation with the subject of flowers reflects his continuing interest in the art of Vincent van Gogh.
From the early 1920s,  Nolde was a supporter of the Nazi party, having become a member of its Danish section. He expressed anti-semitic, negative opinions about Jewish artists, and considered "Expressionism to be a distinctively Germanic style". This view was shared by some other members of the Nazi party, notably Joseph Goebbels and Fritz Hippler.
However Hitler rejected all forms of modernism as "degenerate art", and the Nazi regime officially condemned Nolde's work. Until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, more than those of any other artist.  Some were included in the Degenerate Art exhibition of 1937, despite his protests, including (later) a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint—even in private—after 1941. Nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the "Unpainted Pictures".
In 1942 Nolde wrote: "There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones...and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed."
After World War II, Nolde was once again honored, receiving the German Order of Merit, He died in Seebüll (now part of Neukirchen). The Schiefler Catalogue raisonné of his prints describes 231 etchings, 197 woodcuts, 83 lithographs, and 4 hectographs.


Tuesday, October 31, 2017

GROSSGLOKNER (2) BY MARKUS PERNHART



MARCUS PERNHART (1824-1871) 
Grossglockner or Glokner (3,798 m - 12,460ft)
Austria 

1. In Grossglockner at sunset, oil on canvas, 1857
2. In Grossglockner in 1880,  oil on canvas, Landesmuseum Klagenfurt

The two paintings 
These are two différent paintings of the same summit separated by nearly 30 years. 
In the first one Grossglockner at sunset,  one can check two persons standing on the peak on the left of the painting looking at the main summit while two others are ascending it, nearly arrived at the top.
In the second painting  Grossglockner in 1880, the same two persons are still standing on the summit on the left of the painting looking at same  two others ascending it the main summit. The difference with the first painting is : that time the two alpinist have successfully reached the top and are installing an iron summit cross on the occasion of the silver wedding of Emperor Franz Joseph of Austria and Empress Elisabeth.

The mountain  
The Grossglockner (or just Glockner) (3,798 m - 12,460 ft) is above the Adriatic, the highest mountain of Austria and the highest mountain in the Alps east of the Brenner Pass. It is part of the larger Glockner Group of the Hohe Tauern range, situated along the main ridge of the Central Eastern Alps and the Alpine divide. The Pasterze, Austria's most extended glacier, lies on the Grossglockner's eastern slope. The characteristically pyramid-shaped peak actually consists of two pinnacles, the Grossglockner and the Kleinglockner (3,770 m -12,370 ft), from German: klein, "small"), separated by a saddle-like formation known as the Glocknerscharte.
The history of the climbs started with French-born natural scientist Belsazar Hacquet, from 1773 professor of anatomy at the Academy of Ljubljana. He travelled the Eastern Alps from 1779 to 1781 and published an itinerary in 1783, describing the Glokner mountain and stating that it had not been climbed yet. He estimated the mountain's height with converted (3,793 m -12,444 ft) and left an engraving illustrating Grossglockner and Pasterze, the first known depiction of the mountain.
Inspired by Hacquet's book and the first ascent of the Mont Blanc in 1786, the Gurk prince-bishop Count Franz Xaver of Salm (1749–1822) together with his vicar general Sigismund Ernst Hohenwart  (1745–1825) and Baron Franz Xaver von Wulfen (1728–1805) started efforts for a Grossglockner expedition. They engaged two peasants from Heiligenblut as mountain guides to do the first explorations for an ascent through the Leitertal valley, which is the side of Grossglockner with the least ice (people feared glaciers in these times). These valiant men, called "Glockners" in the records, did more than they were ordered to do - and probably reached the Kleinglockner summit on 23 July 1799.
One month later the bishop's expedition started: a mountain hut (the first Salm Hut) had been built and the path in the Leitertal valley was prepared so that the bishop could use a horse to reach it. 30 people, among them Salm, Hohenwart and Wulfen, were part of the expedition. They suffered with bad weather and a first effort failed, but on 25 August 1799 Hohenwart and at least four other people, including the two "Glockners", reached - again - the Kleinglockner, where they installed one of the first summit crosses (one of the main goals of the church expedition). Hohenwart's reports did not tell clearly that they had not touched the highest point but Bishop Salm (who had reached the Adlersruhe rock at 3,454 m (11,332 ft)) was informed. Dissatisfied, he invited another, even bigger expedition the next year.
On 28 July 1800, 62 people, among them the pedagogue Franz Michael Vierthaler and the botanist David Heinrich Hoppe, started again into the Leitertal valley. Four peasants and carpenters (the "Glockners" and two others who are not known) did a track in the snow, had installed fixed ropes at some steeper sections up to the end of the Glocknerleitl, and even built a second refuge, called Hohenwarte Hut. The vanguard reached the Kleinglockner peak, however, according to the expedition records by the Dellach priest Franz Joseph Horasch (Orasch), only the four guides and Mathias Hautzendorfer, the local priest of the Rangersdorf parish, were able to cross the Obere Glocknerscharte and climb the Grossglockner summit. Hautzendorfer had to be persuaded to venture the step and administered the last rites in advance.
The two "Glockners" are usually identified as the brothers Joseph (Sepp) and Martin Klotz, however, this surname is not listed in the Heiligenblut parish register. A local peasant named Sepp Hoysen is documented as a member of the second Grossglockner expedition in 1802, and the surveyor Ulrich Schiegg mentioned one Martin Reicher as "Glockner" guide. The peasants and several other members of the expedition (among them Schiegg and his young apprentice Valentin Stanič, who climbed Mt. Watzmann for the first time some weeks later) did the ascent again the next day and finally installed the summit cross and a barometer on the Grossglockner summit.
Bishop Salm undertook two more ascents in 1802 (with Hohenwart reaching the summit) and in 1806, however, he himself never climbed beyond the Adlersruhe rock. The climbing of the Grossglockner was also described by the botanist Josef August Schultes, who explored the massif together with Count Apponyi in 1802. No further ascents were made during the Napoleonic Wars, the huts decayed and were plundered by locals. In the following Vormärz era, however, the mountain became a popular venue for Alpinists like Hermann and Adolf Schlagintweit, who all followed the route of the first ascent.
By the mid 19th century, the developing Alpine tourism began to alter the traditional agriculture economy in the Heiligenblut area. Therefore, the people of Kals tried to lay out a straight ascent from the western side, which however was not reached until Julius von Payer explored the ridge between Glöcknerleitl and Ködnitzkees in 1863. Johann Stüdl had a via ferrata erected along the southwestern ridge the next year and the Stüdlhütte erected at its foot in 1868. Already in 1869, most expeditions to the summit started in Kals. The first winter ascent of the Grossglockner was made on January 2, 1875 by William Adolf Baillie Grohman, a member of the Alpine Club. In 1876 Count Pallavicini and his guide Hans Tribusser undertook the first expedition up the steep glaciated Northeast Face, chopping 2,500 steps into the Pallavicinirinne in an ice climbing master stroke not repeated for 23 years.
In 1879, Count Pallavicini dedicated a new iron summit cross on the occasion of the silver wedding of Emperor Franz Joseph of Austria and Empress Elisabeth; both had visited Heiligenblut and walked to the present-day Franz-Josefs-Höhe viewpoint in 1865. The cross was installed on 2 October 1880. Pallavicini also had the Archduke John Hut erected at the former Adlersruhe resting place of Bishop Salm, today the highest situated mountain hut in Austria. The Austrian Alpine Club built the new Salmhütte and the Glocknerhaus along the alpine route from Heiligenblut.
A first ascent by skiing was made in 1909 and the circumnavigation of the massif soon became a popular ski mountaineering tour. The Grossglockner became Austria's highest mountain, when the South Tyrolean Ortler region had to be ceded to the Kingdom of Italy according to the 1919 Treaty of Saint-Germain, which promoted its reputation as a tourist attraction.

The Painter 
Markus Pernhart was a Carinthian Slovenian / Austrian painter. He is considered the first Slovene realistic landscape painter. Early on, he began to paint panels ans humorous works, offered at Klagenfurt weekly market. At  barely 12 years, he painted the guest rooms of Krajcar Restaurant between Klagenfurt and Völkermarkt. The innkeeper made, the bishop's chaplain Henr. Hermann discovered the talented boys. At 15, he trained in painting first with Andreas Hauser in Klagenfurt. Hermann supported him further and introduced him to his patron, the Gorizia Archbishop Francis Xavier Luzhin.  Through this he got contact with the Viennese art scene, particularly to Franz Steinfeld, who taught at the Academy of Fine Arts. It was forwarded to the Munich Academy, but soon returned to Carinthia. There he was promoted by his stage name Pernhart the famous landscape painter of his time.
When Pernhart's drawing style had fully developed, he was asked by Max Moro to draw all Castles Carinthia. The idea was to these buildings if they could often for financial reasons can not be obtained, at least to preserve the picture, thereby preserving from decay. Markus Pernhart does not disappoint its customers and held in pencil drawings smallest details of the well-preserved, but also the already partly decayed plants firmly. Already in 1853, he produced 40 drawings followed by 198 others, he property of the Historical Association for Carinthia. In 1855  he gave the Carinthian estates Empress Elisabeth, an album of 21 drawings to which Max Moro contributed. Entitled images from Carinthia  appeared  in 1863-1868 in deliveries as steel engravings with accompanying. After his death appeared 5 lithographic panoramic images (Klagenfurt in 1875 and 1889). 
His entire painted oeuvre consists of approximately 1,200  paintings, drawings and engavings that delight even after his death a large appreciation. Pernhart presented landscapes, preferably lakes and high mountain motifs or castles, but also animals and still life subjects, in an idyllic and pathetic style. His works can be seen against the background of an incipient leisure society, they lead before the regional status objects of his home.

Monday, July 24, 2017

THE JUNGFRAU, MÖNCH AND EIGER SEEN BY EMIL NOLDE


EMIL NOLDE  (1867-1956)
The Jungfrau (4,158 m - 13, 642 ft)  
 The Mönch (4,107 m - 13,474 ft)
The Eiger (3,970 m -13,020 ft)
Switzerland

In Jungfrau, Mönch et Eiger, 1910

The mountains 

The Jungfrau (4,158 m - 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc.
- More about the Jungfrau 

The Mönch  (4,107 m - 13,474 ft) is a mountain in the Bernese Alps, in Switzerland.  The Mönch lies on the border between the cantons of Valais and Bern, and forms part of a mountain ridge between the Jungfrau and Jungfraujoch to the west, and the Eiger to the east. It is west of Mцnchsjoch, a pass at 3,650 metres (11,980 ft), Mцnchsjoch Hut, and north of the Jungfraufirn and Ewigschneefдld, two affluents of the Great Aletsch Glacier. The north side of the Mцnch forms a step wall above the Lauterbrunnen valley. The Jungfrau railway tunnel runs right under the summit, at an elevation of approximately 3,300 metres (10,830 ft). The peak was first climbed 159 years ago in 1857 on August 15, ascended by Christian Almer, Christian Kaufmann, Ulrich Kaufmann and Sigismund Porges.

The Eiger (3,970 m- 13,020 ft) is located in the  Bernese Alps, overlooking Grindelwald and Lauterbrunnen in the Bernese Oberland, just north of the main watershed and border with Valais. It is the easternmost peak of a ridge crest that extends across the Mцnch to the Jungfrau, constituting one of the most emblematic sights of the Swiss Alps. While the northern side of the mountain rises more than 3,000m -10,000 ft above the two valleys of Grindelwald and Lauterbrunnen, the southern side faces the large glaciers of the Jungfrau-Aletsch area, the most glaciated region in the Alps. The most notable feature of the Eiger is its 1,800-metre-high - 5,900 ft north face of rock and ice, named Eigerwand or Nordwand, which is the biggest north face in the Alps. This huge face towers over the resort of Kleine Scheidegg at its base, on the homonymous pass connecting the two valleys.
- More about the Eiger 


The painter 
Emil Nolde (born Emil Hansen) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke (The Bridge) of Dresden in 1906, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.
Nolde's intense preoccupation with the subject of flowers reflects his continuing interest in the art of Vincent van Gogh.
From the early 1920s,  Nolde was a supporter of the Nazi party, having become a member of its Danish section. He expressed anti-semitic, negative opinions about Jewish artists, and considered "Expressionism to be a distinctively Germanic style". This view was shared by some other members of the Nazi party, notably Joseph Goebbels and Fritz Hippler.
However Hitler rejected all forms of modernism as "degenerate art", and the Nazi regime officially condemned Nolde's work. Until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, more than those of any other artist.  Some were included in the Degenerate Art exhibition of 1937, despite his protests, including (later) a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint—even in private—after 1941. Nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the "Unpainted Pictures".
In 1942 Nolde wrote: "There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones...and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed."
After World War II, Nolde was once again honored, receiving the German Order of Merit, He died in Seebüll (now part of Neukirchen). The Schiefler Catalogue raisonné of his prints describes 231 etchings, 197 woodcuts, 83 lithographs, and 4 hectographs.

About this work 
The postcards series date from  pre-expressionist phase of Nolde’s career (though he was around 30 when he created them). After hiking in the Swiss Alps, Nolde did a painting, Mountain Giants, presenting the mountains in human form. Nolde wrote : “The picture went to the annual exhibition in Munich in 1896. [Ferdinand] Hodler’s picture “Night”  which established his fame, was also there. But my “Mountain Giants" was soon returned, rejected… In those days there was a general and stormy derision and ridicule about each of Hodler’s pictures. ‘And his colors are as ugly as can be possible!’ What help was my contradiction and my firm conviction that his sinuous, pushing, wry bodies are part of the character of the mountain folk, just as the firs on the mountain slopes are gnarled and grown oddly.” From then, he painted practically every Swiss Alps Summit in human form: the Cervin / Matterhorn, the Zugspitze, the Waxenstein, the Eiger, the Monch, the Jungfrau, the Grand Saint- Gothard, Piz Bernina, the Morteratch, the Ortler, the Finsteraarhorn... they will be posted one by one in this blog.


Sunday, June 18, 2017

CERVIN / MATTERHORN BY EMIL NOLDE


EMIL NOLDE  (1867-1956) 
Cervin / Matterhorn  (4,478m -14,691ft)
Switzerland - Italy 

In Das Matterhorn Ladrelt (Smiling Watterhorn), 1897, gouache-poscard, 


The mountain 
The  Mont Cervin (4,478m -14,691ft) also known as the Matterhorn is an alpine summit located on the Swiss-Italian border between the canton of Valais and the Aosta Valley in Switzerland. It has several other names: Cervino in Italian, Grand'Bèca in Arpitan, Matterhorn in German. The Cervin / Matterhorn is the most famous mountain in Switzerland, including the pyramidal shape that it offers from the village of Zermatt, in the German-speaking part of the canton of Valais.
Its four sides are joined about 400 meters below the summit in a summit pyramid, called "roof." Its summit is a broad ridge about two meters, on which stand actually two summits: one called "Swiss summit," the farther east, and the "Italian summit" slightly lower (4,476 meters), on the west side of the ridge. The two are separated by a notch in the hollow of which a cross was laid in September 1901.
- More about Mont Cervin / Matterhorn

The painter 
Emil Nolde (born Emil Hansen) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke (The Bridge) of Dresden in 1906, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.
Nolde's intense preoccupation with the subject of flowers reflects his continuing interest in the art of Vincent van Gogh.
From the early 1920s,  Nolde was a supporter of the Nazi party, having become a member of its Danish section. He expressed anti-semitic, negative opinions about Jewish artists, and considered "Expressionism to be a distinctively Germanic style". This view was shared by some other members of the Nazi party, notably Joseph Goebbels and Fritz Hippler.
However Hitler rejected all forms of modernism as "degenerate art", and the Nazi regime officially condemned Nolde's work. Until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, more than those of any other artist.  Some were included in the Degenerate Art exhibition of 1937, despite his protests, including (later) a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint—even in private—after 1941. Nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the "Unpainted Pictures".
In 1942 Nolde wrote: "There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones...and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed."
After World War II, Nolde was once again honored, receiving the German Order of Merit, He died in Seebüll (now part of Neukirchen). The Schiefler Catalogue raisonné of his prints describes 231 etchings, 197 woodcuts, 83 lithographs, and 4 hectographs.

About this work 
The postcards series date from  pre-expressionist phase of Nolde’s career (though he was around 30 when he created them). After hiking in the Swiss Alps, Nolde did a painting, Mountain Giants, presenting the mountains in human form. Nolde wrote : “The picture went to the annual exhibition in Munich in 1896. [Ferdinand] Hodler’s picture “Night”  which established his fame, was also there. But my “Mountain Giants" was soon returned, rejected… In those days there was a general and stormy derision and ridicule about each of Hodler’s pictures. ‘And his colors are as ugly as can be possible!’ What help was my contradiction and my firm conviction that his sinuous, pushing, wry bodies are part of the character of the mountain folk, just as the firs on the mountain slopes are gnarled and grown oddly.” From then, he painted practically every Swissw Alps Summit in human form: the Zugspitze, the Waxenstein, the Eiger, the Monch, the Jungfrau, the Grand Saint- Gothard, Piz Bernina, the Morteratch, the Ortler, the Finsteraarhorn... they will be posted one after one in this blog, the Cervin / Matterhorn being the first one.



Tuesday, October 18, 2016

GRAN ZEBRU PAINTED BY EDWARD H. COMPTON




EDWARD H. COMPTON  (1861-1960)
 Gran Zebru or Königspitze  (3,851m- 12,635 ft)
Italy

Oil on canvas, 1905

The mountain 
The Gran Zebru (3,851m- 12,635 ft) or  Königspitze (in german ) is a mountain of the Ortler Alps on the border between South Tyrol and the Province of Sondrio, Italy. After Ortler, it is the second highest peak in the Ortler Alps, know to have been a important strategic place during World War I.  The Gran Zebru forms the southeast end of this Dolomit Range. The  Italian name Gran Zebru (Big Zebra) derives from Val Zebru and is etymologically unclear. It is thought an origin of the pre-Roman name  Gimberu.
The mountain was first climbed (the date is controversial) on August 3, 1854, by Stephan Steinberger or 3 August 2864 by Tuckett, Buxton and the Biner Brothers. 
The mountain can be dangerous in warm weather, when the snow and ice can become unstable and particularly nowadays with the global warning melt of the permafrost.  The worst day for climbing fatalities on the mountain occurred on August 5, 1997, when seven people were killed in two separate incidents. On June 23, 2013, six were killed, also in two separate incidents.

The Painter
Edward Harrison Compton (1881–1960) not to be confused with his father Edward Theodore Compton (1849-1921) was a German landscape painter and illustrator of English descent. Compton was born in Feldafing in Upper Bavaria, Germany, the second son of notable landscape painter Edward Theodore Compton. He received his early art training from his father, and after a period of study in London at the Central School of Arts and Crafts settled back in Bavaria. Like his father he was inspired by the Alps to become a mountain painter ("bergmaller") working in both oils and watercolour. However, an attack of Polio at the age of 28 meant that he had to find more accessible landscapes to paint in Germany, England northern Italy and Sicily. He also provided illustrations for several travel books published by A & C Black. Compton exhibited at galleries in Munich and Berlin, and also in England at the Royal Academy in London and in Bradford. He died in Feldafing in 1960.
He had two sisters, both of whom were artists: Marion Compton, the flowers and still-life painter, and Dora Keel-Compton, flower and mountain painter
Source: 
Wikipedia 

Wednesday, August 1, 2012

THE GROSSGLOKNER PAINTED BY EDWARD T. COMPTON


EDWARD THEODORE COMPTON  (1849-1921)
Grossglockner  (3,798 m-12,461 ft) 
Austria

in 1918 - Alpenverein Museum Inssbruk

The mountain  
The Grossglockner (or just Glockner) is at (3,798 meters-12,461 ft) above the Adriatic, the highest mountain of Austria and the highest mountain in the Alps east of the Brenner Pass. It is part of the larger Glockner Group of the Hohe Tauern range, situated along the main ridge of the Central Eastern Alps and the Alpine divide. The Pasterze, Austria's most extended glacier, lies on the Grossglockner's eastern slope. The characteristically pyramid-shaped peak actually consists of two pinnacles, the Grossglockner and the Kleinglockner (3,770 m (12,370 ft), from German: klein, "small"), separated by a saddle-like formation known as the Glocknerscharte.
The history of the climbs started with French-born natural scientist Belsazar Hacquet, from 1773 professor of anatomy at the Academy of Ljubljana. He travelled the Eastern Alps from 1779 to 1781 and published an itinerary in 1783, describing the Glokner mountain and stating that it had not been climbed yet. He estimated the mountain's height with converted 3,793 m (12,444 ft) and left an engraving illustrating Grossglockner and Pasterze, the first known depiction of the mountain.
Inspired by Hacquet's book and the first ascent of the Mont Blanc in 1786, the Gurk prince-bishop Count Franz Xaver of Salm (1749–1822) together with his vicar general Sigismund Ernst Hohenwart (1745–1825) and Baron Franz Xaver von Wulfen (1728–1805) started efforts for a Grossglockner expedition. They engaged two peasants from Heiligenblut as mountain guides to do the first explorations for an ascent through the Leitertal valley, which is the side of Grossglockner with the least ice (people feared glaciers in these times). These valiant men, called "Glockners" in the records, did more than they were ordered to do - and probably reached the Kleinglockner summit on 23 July 1799.
One month later the bishop's expedition started: a mountain hut (the first Salm Hut) had been built and the path in the Leitertal valley was prepared so that the bishop could use a horse to reach it. 30 people, among them Salm, Hohenwart and Wulfen, were part of the expedition. They suffered with bad weather and a first effort failed, but on 25 August 1799 Hohenwart and at least four other people, including the two "Glockners", reached - again - the Kleinglockner, where they installed one of the first summit crosses (one of the main goals of the church expedition). Hohenwart's reports did not tell clearly that they had not touched the highest point but Bishop Salm (who had reached the Adlersruhe rock at 3,454 m (11,332 ft)) was informed. Dissatisfied, he invited another, even bigger expedition the next year.
On 28 July 1800, 62 people, among them the pedagogue Franz Michael Vierthaler and the botanist David Heinrich Hoppe, started again into the Leitertal valley. Four peasants and carpenters (the "Glockners" and two others who are not known) did a track in the snow, had installed fixed ropes at some steeper sections up to the end of the Glocknerleitl, and even built a second refuge, called Hohenwarte Hut. The vanguard reached the Kleinglockner peak, however, according to the expedition records by the Dellach priest Franz Joseph Horasch (Orasch), only the four guides and Mathias Hautzendorfer, the local priest of the Rangersdorf parish, were able to cross the Obere Glocknerscharte and climb the Grossglockner summit. Hautzendorfer had to be persuaded to venture the step and administered the last rites in advance.
The two "Glockners" are usually identified as the brothers Joseph (Sepp) and Martin Klotz, however, this surname is not listed in the Heiligenblut parish register. A local peasant named Sepp Hoysen is documented as a member of the second Grossglockner expedition in 1802, and the surveyor Ulrich Schiegg mentioned one Martin Reicher as "Glockner" guide. The peasants and several other members of the expedition (among them Schiegg and his young apprentice Valentin Stanič, who climbed Mt. Watzmann for the first time some weeks later) did the ascent again the next day and finally installed the summit cross and a barometer on the Grossglockner summit.
Bishop Salm undertook two more ascents in 1802 (with Hohenwart reaching the summit) and in 1806, however, he himself never climbed beyond the Adlersruhe rock. The climbing of the Grossglockner was also described by the botanist Josef August Schultes, who explored the massif together with Count Apponyi in 1802. No further ascents were made during the Napoleonic Wars, the huts decayed and were plundered by locals. In the following Vormärz era, however, the mountain became a popular venue for Alpinists like Hermann and Adolf Schlagintweit, who all followed the route of the first ascent.
By the mid 19th century, the developing Alpine tourism began to alter the traditional agriculture economy in the Heiligenblut area. Therefore, the people of Kals tried to lay out a straight ascent from the western side, which however was not reached until Julius von Payer explored the ridge between Glöcknerleitl and Ködnitzkees in 1863. Johann Stüdl had a via ferrata erected along the southwestern ridge the next year and the Stüdlhütte erected at its foot in 1868. Already in 1869, most expeditions to the summit started in Kals. The first winter ascent of the Grossglockner was made on January 2, 1875 by William Adolf Baillie Grohman, a member of the Alpine Club. In 1876 Count Pallavicini and his guide Hans Tribusser undertook the first expedition up the steep glaciated Northeast Face, chopping 2,500 steps into the Pallavicinirinne in an ice climbing master stroke not repeated for 23 years.
In 1879, Count Pallavicini dedicated a new iron summit cross on the occasion of the silver wedding of Emperor Franz Joseph of Austria and Empress Elisabeth; both had visited Heiligenblut and walked to the present-day Franz-Josefs-Höhe viewpoint in 1865. The cross was installed on 2 October 1880. Pallavicini also had the Archduke John Hut erected at the former Adlersruhe resting place of Bishop Salm, today the highest situated mountain hut in Austria. The Austrian Alpine Club built the new Salmhütte and the Glocknerhaus along the alpine route from Heiligenblut.
A first ascent by skiing was made in 1909 and the circumnavigation of the massif soon became a popular ski mountaineering tour. The Grossglockner became Austria's highest mountain, when the South Tyrolean Ortler region had to be ceded to the Kingdom of Italy according to the 1919 Treaty of Saint-Germain, which promoted its reputation as a tourist attraction.

The Painter 
Edward Theodore Compton, usually referred to as E. T. Compton, (29 July 1849 – 22 March 1921) was an English-born, German artist, illustrator and mountain climber, not to be confused with his son Edward Harrison Compton, also a mountain painter. He is well known for his paintings and drawings of alpine scenery, and as a mountaineer made 300 major ascents including no fewer than 27 first ascents.
Initially painting in the English romantic tradition, Compton later developed a more realistic representation of nature, being guided by his true artistic ideas while retaining topographical accuracy. Even his early watercolors show the great importance of brightness and light and his work is also remarkable for its portrayal of the elements such as water and air, including ascending mist and fog. He can be regarded as an impressionist.
He attended various art schools, including, for a time, the Royal Academy in London, but otherwise he was mainly self-taught in art. In 1867, wanting the best education for their artistically-talented son, and due to the high cost of schooling in England, the family decided to emigrate to Germany settling in Darmstadt. The city at that time was the seat of the Grand Duchy of Hesse under Grand Duke Ludwig III, and a community of artists had sprung up there. Entries in Compton's diary show that both he and his father were art teachers - Alice, the Princess of Hesse numbered amongst Edward's students.
Between 1867-68 Compton toured the Rhineland, Mosel and Eifel areas of Germany, making numerous sketches. In July 1868, the entire Compton family traveled to the Bernese Oberland, the alpine scenery encountered during this trip, particularly the view of the Eiger, Mönch and Jungfrau peaks, inspiring Edward to become a mountain painter.
In 1869, Compton was living in Munich and two years later for the first time exhibited his work at the Glass Palace.
In 1872 he married Auguste Plotz and for two years they travelled through the Tyrol, Carinthia, Italy and Switzerland. From 1874, the couple settled in Feldafing on Lake Starnberg, building a comfortable house there called Villa Compton.
In the following years, Compton travelled to the mountains of Austria, Scandinavia, North Africa, Corsica and Spain recording his impressions in a variety of oil and watercolors paintings and ink drawings. Although alpine scenes predominated, Compton also visited and drew other areas such as the High Tatras in eastern Europe, the Scottish Highlands, the Hebrides, the Lofoten Islands and Northern Cape in Norway, and the Colombian Andes.
In 1880 Compton became a member of the Royal Academy, London. Besides his work as a painter he also became well known as a book illustrator for the German and Austrian Alpine Association (DAV) with titles such as "In the high mountains" by Emil Zsigmondy (1889), "About Fels and Firn" by H. Hess (1901) and "Mountaineering in Pictures" by Alfred Steinitzer (1913). In England he was also in demand as an illustrator providing pictures for a range of titles (see below).
In 1909 Compton accompanied his friend, the mountaineer Karl Blodig on many tours in the Silvretta mountains. At the time of the First World War he was invited by the Austrian army to paint from the mountain front but was forbidden to do so by the Bavarian High Command. He was also excluded from the Munich Artists' Association, because he was English.
Apart from his art, Compton was also an excellent climber, highly regarded by Blodig for his "brilliant mountaineering skill on ice and rock, his truly admirable perseverance, his inexhaustible patience in bearing hardships". He was a member of the exclusive Alpine Club and the German and Austrian Alpine Association (DAV).
Amongst his notable ascents were: Torre di Brenta first climbed in 1882; Cima Brenta, first climbed by the south wall in 1882; Odle} (Large Fermeda); Aiguille Blanche de Peuterey (ascent in 1905 with Karl Blodig); Grossglockner, climbed at the age of 70!
Compton died in Feldafing on 22 July 1921, aged 72. His son Edward Harrison Compton and daughter Dora Compton were also mountain painters. His other daughter Marion was a flower and still life painter.