PAO DE AÇUCAR PAINTED BY CHARLES LANDEER

 

 

CHARLES LANDEER (1799-1879)
Pao de Açucar / Sugarloaf Mountain / (396 m - 1299 ft)
Brazil

In View of Sugarloaf Mountain from the Silvestre Road 1827, oil on canvas, 61,5 x 91 cm,
Pinacoteca do Estado de São Paulo, Brazil

The painter
Charles Landseer (RA) was an English painter, mostly of historical subjects. He was born the second son of the engraver John Landseer, and the elder brother of the animal painter, Sir Edwin Landseer. He trained under his father, and the painter Benjamin Robert Haydon. He was awarded the silver palette of the Royal Society of Arts for a drawing of Laocoon in 1815, and in 1816 he entered the Royal Academy Schools where he was taught by Henry Fuseli. In 1823 he accompanied Sir Charles Stuart de Rothesay on a diplomatic mission to Portugal and Brazil. Many of the drawings he made on the journey were shown at the British Institution in 1828. He became an associate in of the Royal Academy in 1837, and a full academician in 1845. In 1851, he was appointed Keeper of the Royal Academy, a post requiring him to teach in the "Antique School". He remained in the position until 1873.  Most of his pictures were of subjects from British history, or from literature. He paid close attention to the historical accuracy of the accessories and details in his paintings. His works included The Meeting of Charles I. and his Adherents before the Battle of Edgehill, Clarissa Harlowe in the Prison Room of the Sheriff's Office (1833, now in the collection of the Tate Gallery), The Pillaging of a Jew's House in the Reign of Richard I (1839, Tate Gallery) and The Temptation of Andrew Marvel (1841). While under Haydon's instruction he also made a series of detailed anatomical drawings.  He died in London on 22 July 1879, leaving  quite generously 10,000 guineas to the Royal Academy to fund scholarships.

The mountain
Sugarloaf Mountain (396 m - 1299 ft), Pao de Açucar in Portuguese, Pain de Sucre in French, is a isolated peak (Inselberg) situated in Rio de Janeiro, Brazil, at the mouth of Guanabara Bay on a peninsula that sticks out into the Atlantic Ocean. Rising above the harbor, its name is said to refer to its resemblance to the traditional shape of concentrated refined loaf sugar. It is known worldwide for its cableway and panoramic views of the city. The name "Sugarloaf" was coined in the 16th century by the Portuguese during the heyday of sugar cane trade in Brazil. According to historian Vieira Fazenda, blocks of sugar were placed in conical molds made of clay to be transported on ships. The shape given by these molds was similar to the peak, hence the name.
Climbing routes:
1907 – The Brazilian engineer Augusto Ferreira Ramos had the idea of linking the hills through a path in the air.
1910 – The same engineer founded the Society of Sugar Loaf and the same year the works were started. The project was commissioned in Germany and built by Brazilian workers. All parts were taken by climbing mountains or lift by steel cables.
1912 – Opening of the tram. First lift of Brazil. The first cable cars were made of coated wood and were used for 60 years.
1972 – The current template trolley was put into operation. This increased the carrying capacity by almost ten times.
2009 – Inauguration of the next generation of cable cars that had already been purchased and are on display at the base of Red Beach.
Visitors can watch rock climbers on Sugarloaf and the other two mountains in the area: Morro da Babilônia (Babylon Mountain), and Morro da Urca (Urca's Mountain). Together, they form one of the largest urban climbing areas in the world, with more than 270 routes, between 1 and 10 pitches long.

THE GREAT SUGAR LOAF PAINTED BY GEORGE BARRET Sr.

GEORGE BARRET Sr. (1730-1784)
The Great Sugar Loaf (501 m-1,644 ft)
Ireland

In Powerscourt House, Co. Wicklow with the Great Sugarloaf mountain, 1760, oil on canvas, 

73,3 x 97,1 cm, Yale Center for British Art, Paul Mellon collection

The mountain
The Great Sugar Loaf  (501 m-1,644 ft),  not to be confused with Sugar Loaf  in Brazil or with Sugar Loaf Mountain in USA neither with  the Pain de Sucre in France...  is the 404th–highest peak in Ireland on the Arderinscale, however, being below 600 m it does not rank on the Vandeleur-Lynam or Hewitt scales].  The mountain is in the far northeastern section of the Wicklow Mountains, in Ireland, and overlooks the village of Kilmacanogue. The profile of the mountain means it can be mistaken for a dormant volcano. It owes its distinctive shape, however, to the erosion-resistant metamorphosed deep-sea sedimentary deposit from which its quartzite composition was derived.
According to Irish academic Paul Tempan, the term "sugarloaf" is widely applied in Britain and Ireland to hills of conical form, in much the same way that the name pain de sucre is used in France. Tempan also notes that there is a widespread misconception that the term refers to a kind of bread, when it refers in fact to the stalagmite-like form in which sugar was sold up until the 19th-century, prior to the advent of granulated sugar. The traditional method for making a sugarloaf was complex, involving repeated purifications, moulding and a leaching process gradually to refine the mass of sugar, by ridding it of its associated molasses and eventually all trace of colour, leaving it a glistening white. This form of sugar is still used in the German alcoholic drink, Feuerzangenbowle. Tempan notes that a 1935 article by Eoin MacNeill in the Journal of the Royal Society of Antiquaries of Ireland (JRSAI), on placenames mentioned in the Togail Bruidne Dá Derga, suggested that Irish: Ó Cualann could refer to "sheep of Cualu", but considered it unlikely.

The Painter
George Barret Sr. RA was an Irish landscape artist best known for his oil paintings, but also sometimes produced watercolours. He left Ireland in 1762 to move to London where he soon gained recognition as a leading artist of the period. He exhibited at the Society of Artists of Great Britain and was able to gain patronage from many leading art collectors. Barrett with other leading members left the Society in 1768 to found the Royal Academy, where he continued to exhibit until 1782. Barrett appears to have travelled extensively in England including the Lake District and the Isle of Wight, Wales, and Scotland to undertake commissions for his patrons. He suffered from asthma and this caused him to move in 1772 to Westbourne Green, at the time a country village to the west of Paddington. While he earned considerable quantities of money from his paintings, he has been described as being ‘'feckless'’ with money. He was helped in 1782 by Edmund Burke, with whom he had become friends when Burke attended Trinity College, Dublin. On Burke's recommendation he obtained the appointment of master painter of Chelsea Hospital, a post he held until his death in 1784. At the time of his death his widow and children were left destitute, but the Royal Academy granted her a pension of thirty pounds a year.

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2022 - Wandering Vertexes...
by Francis Rousseau

THE PAIN DE SUCRE BY GUSTAVE-EUGÈNE CASTAN

GUSTAVE-EUGÈNE CASTAN (1823-1892)

Le Pain de Sucre  (3, 208m - 10, 525 ft)

France - Italy border 

 In  Pain du Sucre as seen from the St BernardPass, 1892, oil on canvas, Courtesy  John Mitchell Gallery, London 

The mountain
The Pain de Sucre (Sugar Loaf  not to be confused with the one in Brazil) is a summit of the massif of Escreins. It is located on the Franco-Italian border. It is easy to access for any hiker of medium level and being well equipped. It is necessary to climb before the Vieux pass (2 806 m) on the GR 58. From the top of the Sugar Loaf, marked by a small cross, we can clearly see Mount Viso.

The painter  
The Swiss lithographer, landscape painter and engraver Gustave- Eugène Castan was   trained in the studio of Alexandre Calame, whom he accompanied in Italy in 1844, then, the following year, in the Bernese Oberland. During his studies, he became friends with the French painter Eugène Castelnau and followed him to Paris in 1849. In 1850, he visited France and met the painter Auguste Ravier and, in 1852, Corot, which has a decisive influence on him. In 1856, he was mobilized in the context of the Neuchâtel affair and drew current events. In 1857, he went to the Paris Salon, which he visited with Corot, then traveled through Brittany and Normandy. He then divides his life between Switzerland and France and often goes to the Berry where he becomes a familiar of George Sand. It is during one of these visits that she makes him discover the landscapes of the Creuse. He then goes there every year during the summer months and contributes to the birth of the "Valley of painters" and the Crozant school.
In 1865, Castan was a founding member of the Swiss Society of Painters and Sculptors, of which he was president in 1887.
 The emperor Napoleon III bought his painting A morning autumn, making Castan definitely famous.  He presented landscapes of Belgium, Normandy, Brittany, Dauphiné and Creuse. He also participated in the Vienna International Exhibition in 1873 and the Jubiläumsausstellung in Munich in 1888.
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2019 - Wandering Vertexes...

by Francis Rousseau 

PAO DA AÇUCAR BY AGOSTINHO JOSE DA MOTA

AGOSTINHO JOSE DA MOTA (1824-1878)
 Pao de Açucar  / Sugarloaf mountain  (396 m - 1,299 ft)

Brazil

In  Vista da Gambo no Rio de Janeiro,1852, oil on canvas 

The mountain
Pao de Açucar  (396 m - 1299ft), Sugarloaf Mountain in english, Pain de Sucre in French,  is a isolated peak (Inselberg) situated in Rio de Janeiro, Brazil, at the mouth of Guanabara Bay on a peninsula that sticks out into the Atlantic Ocean. Rising above the harbor, its name is said to refer to its resemblance to the traditional shape of concentrated refined loaf sugar. It is known worldwide for its cableway and panoramic views of the city. The name "Sugarloaf" was coined in the 16th century by the Portuguese during the heyday of sugar cane trade in Brazil. According to historian Vieira Fazenda, blocks of sugar were placed in conical molds made of clay to be transported on ships. The shape given by these molds was similar to the peak, hence the name.

The painter 
Agostinho José da Mota was a painter, draftsman and Brazilian professor. Thus, in 1837, enrolled in the Imperial Academy of Fine Arts. He was a brilliant student and for the merits and competence demonstrated, received the prize for a trip to Europe, in 1850. Returning to Brazil, in 1856, he is one of the founders of the Society Propagating Fine Arts of Rio de Janeiro. Two years later, he  painted the portraits of the imperial couple - Dom Pedro II (1825 - 1891) and Dona Teresa Cristina (1822 - 1889).
Most of Agostinho de Motta's artistic production consists of landscapes and still lifes. His representation of the Brazilian landscape is among the best that prints the values and standards of the Imperial Academy of Fine Arts (AIBA), in which he studied and later was professor, both in the formation of the idea of a national image, as well as in the formation of the image of the empire. Agostinho Mota did this for his artistic works, such as the portrait of the imperial couple and the records of the scene of the time.
The landscapes of Agostinho Motta are the most famous works of the artist. They stand out for the topographical precision, for the exact register of the dimensions of the scenarios and for the competence with which it captures the transpositions between the various colors that constitute its worked exteriors. The scenarios chosen by the artist demonstrate the marked dimension of the national identity that Agostinho Motta intended to portray in his paintings, as the Landscape of Rio de Janeiro, 1857, influenced by the canons of AIBA.
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2019 - Wandering Vertexes...
by Francis Rousseau 

THE SUGAR LOAF PAINTED BY EDUARD HILDEBRANDT

EDUARD HILDEBRANDT (1818-1868) 

The Sugarloaf or Pao de Açucar (396 m - 1,299ft)

Brazil

In  A Glória, Rio de Janeiro, 1846, oil on canvas 

The mountain 

The Sugarloaf Mountain (396 m - 1,299ft) or Pao de Açucar in Portuguese, or Pain de Sucre in French, is a isolated peak situated in Rio de Janeiro, Brazil, at the mouth of Guanabara Bay on a peninsula that sticks out into the Atlantic Ocean. Rising above the harbor, its name is said to refer to its resemblance to the traditional shape of concentrated refined loaf sugar. It is known worldwide for its cableway and panoramic views of the city. The name "Sugarloaf" was coined in the 16th century by the Portuguese during the heyday of sugar cane trade in Brazil. According to historian Vieira Fazenda, blocks of sugar were placed in conical molds made of clay to be transported on ships. The shape given by these molds was similar to the peak, hence the name.

Climbing routes:

1907 – The Brazilian engineer Augusto Ferreira Ramos had the idea of linking the hills through a path in the air.

1910 – The same engineer founded the Society of Sugar Loaf and the same year the works were started. The project was commissioned in Germany and built by Brazilian workers. All parts were taken by climbing mountains or lift by steel cables.

1912 – Opening of the tram. First lift of Brazil. The first cable cars were made of coated wood and were used for 60 years.

1972 – The current template trolley was put into operation. This increased the carrying capacity by almost ten times.

2009 – Inauguration of the next generation of cable cars that had already been purchased and are on display at the base of Red Beach.

Visitors can watch rock climbers on Sugarloaf and the other two mountains in the area: Morro da Babilônia (Babylon Mountain), and Morro da Urca (Urca's Mountain). Together, they form one of the largest urban climbing areas in the world, with more than 270 routes, between 1 and 10 pitches long.

Source :
- Sugarloaf Official Website

The painter
Eduard Hildebrandt was a German landscape painter.  He was not twenty when he moved to Berlin, where his teacher was Wilhelm Krause, a painter of sea pieces. In 1842, he went to Paris, entered the atelier of the famous painter Isabey and became the companion of Lepoittevin. In a short time he sent home pictures which might have been taken for copies from these artists. Gradually he mastered the mysteries of touch and the secrets of effect in which the French  excelled.
After 1843 Hildebrandt, under the influence of Humboldt, extended his travels, and in 1864-1865 he went round the world. Whilst his experience became enlarged his powers of concentration broke down. He lost the taste for detail in seeking for scenic breadth. He gradually produced less oil paintings but more water colours, many of them represented by chromolithography. Fantasies in red, yellow and opal, sunset, sunrise and moonshine, distances of hundreds of miles like those of the Andes and the Himalaya, narrow streets in the bazaars of Cairo or Suez, panoramas as seen from mast-heads, wide cities like Bombay or Pekin, narrow strips of desert with measure-less expanses of sky all alike display his quality of bravura.

THE SUGARLOAF PAINTED BY N.A.TAUNAY

NICOLAS-ANTOINE TAUNAY (1755-1830) 

Sugarloaf Mountain or Pao de Açucar (396 m - 1299ft)

Brazil

In  Le mont du Pain de Sucre vu du Couvent Saint-Antoine, 1816, oil on canvas 

The moutain
Sugarloaf Mountain (396 m - 1299ft), Pao de Açucar in Portuguese, Pain de Sucre in French,  is a isolated peak (Inselberg) situated in Rio de Janeiro, Brazil, at the mouth of Guanabara Bay on a peninsula that sticks out into the Atlantic Ocean. Rising above the harbor, its name is said to refer to its resemblance to the traditional shape of concentrated refined loaf sugar. It is known worldwide for its cableway and panoramic views of the city. The name "Sugarloaf" was coined in the 16th century by the Portuguese during the heyday of sugar cane trade in Brazil. According to historian Vieira Fazenda, blocks of sugar were placed in conical molds made of clay to be transported on ships. The shape given by these molds was similar to the peak, hence the name.
Climbing routes:
1907 – The Brazilian engineer Augusto Ferreira Ramos had the idea of linking the hills through a path in the air.
1910 – The same engineer founded the Society of Sugar Loaf and the same year the works were started. The project was commissioned in Germany and built by Brazilian workers. All parts were taken by climbing mountains or lift by steel cables.
1912 – Opening of the tram. First lift of Brazil. The first cable cars were made of coated wood and were used for 60 years.
1972 – The current template trolley was put into operation. This increased the carrying capacity by almost ten times.
2009 – Inauguration of the next generation of cable cars that had already been purchased and are on display at the base of Red Beach.
Visitors can watch rock climbers on Sugarloaf and the other two mountains in the area: Morro da Babilônia (Babylon Mountain), and Morro da Urca (Urca's Mountain). Together, they form one of the largest urban climbing areas in the world, with more than 270 routes, between 1 and 10 pitches long.
Source :
- Sugarloaf Official Website

The painter 
Nicolas-Antoine Taunay (1755-1830) was a French painter. He joined the french Academy of Fine Arts in 1795, after having studied painting in 1768 with Nicolas Bernard Lépicié then with Nicolas-Guy Brenet and Francesco Casanova.  In 1805, he was chosen, along with other painters, to represent Napoleon's campaigns in Germany. At the fall of the Emperor, Taunay participated to an artistic mission organized by the Count of Barca,  very influent minister of the regent Don Joao, the future John VI of Portugal. Taunay embarked in 1816 with his family to Brazil as a member of the French artistic mission. He arrived in Rio de Janeiro in 1816, painted the picture above and  became a pensioner painter of the kingdom.  He joined the group of painters who founded the Brazilian Royal Academy of Fine Arts and in 1820 was appointed professor at the Academy and gets the chair of landscape painting. The following year, in disagreement with the Portuguese painter José Henrique da Silva who was appointed head of the Royal Academy of Fine Arts, he returned to France.
His son Felix Taunay became professor of landscape painting, and later director of the Imperial Academy of Fine Arts. Adrien Taunay, his younger son, accompanied, as designer, shipments of Freycinet and Langsdorff.