TIANDU PEAK BY MEI QING

MEI QING (1623-1697) 

 Tiandu peak (1,810 m - 5,938 ft) 

 China 

 In view of  Tiandu, Mont Huang  - Palace Museum, Beijing

The mountain 

 Tiandu Peak (Celestial Capital)   (1,810 m  - 5,938 ft) is the highest peak of the Huangshan (黄山)  mountain range in southern Anhui province in eastern China. Vegetation on the range is thickest below 1,100 meters -3,600 ft), with trees growing up to the treeline at 1,800 meters -5,900 ft. Huangshan is a frequent subject of traditional Chinese paintings and literature, as well as modern photography. It is a UNESCO World Heritage Site, and one of China's major tourist destinations. Huangshan is also the famous place for Chinese teas of high quality, such as Huangshan Maofeng, Keemun Black, and Blooming Tea.

Much of Huangshan's reputation derives from its significance in Chinese arts and literature. In addition to inspiring poets such as Li Bai,  Huangshan and the scenery therein has been the frequent subject of poetry and artwork, especially Chinese ink painting and, more recently, photography. Overall, from the Tang Dynasty to the end of the Qing Dynasty, more than 20,000 poems were written about Huangshan, and a school of painting named after it. The mountains also have appeared in modern works. James Cameron, director of the 2009 film Avatar, cited Huangshan as one of his influences in designing the fictional world of that film.

The area also has been a location for scientific research because of its diversity of flora and wildlife. In the early part of the twentieth century, the geology and vegetation of Huangshan were the subjects of multiple studies by both Chinese and foreign scientists.  The mountain is still a subject of research. For example, in the late twentieth century a team of researchers used the area for a field study of Tibetan macaques, a local species of monkey.

Climbing
The climb, dangerous in the old days, is a "walk-over", with stone steps placed or hewn along the trail and iron chains to cling to. Now 43,000 steps link all the peaks and a winding path 3,800 meters long has been paved for the convenience of tourists. The Tiandu peak over 5900, is one of the steepest and most breathtaking peaks of Mount Huang. At the top of the peak is a stone carving of 4 Chinese characters "Deng Feng Zao Ji" (the highest peak), as the peak surpasses the others in the surrounding area. A traveler in old times that failed to reach the top sighed as he composed this poem: “How I wish I could ride a crane some day to view the sea of clouds over Tiandu Peak.”
The top of the peak is flat with a natural cave large enough to hold more than one hundred people. The saying goes: “Without reaching Jade Screen Pavilion, a panoramic view of the mountain is impossible; without climbing Tiandu Peak, your trip is in vain”.

Source: 

- China Tour 

- Huang Shan tour 

The artist 

Mei Qing (梅清) was a Chinese landscape painter, calligrapher and poet active during the Qing Dynasty. Mei was born in Xuancheng, Anhui Province. 

His style name was 'Yuangong' (渊公 or 远公) and his pseudonym were :

Mount Qu (瞿山), Xue Lu  (雪庐), and Lao Qu Fan Fu (老瞿凡父).

Mei was taught by Wang Meng. He was a friend Shitao, influencing some of Shitao's earlier works. His landscape paintings were based on his many travels to the Yellow Mountain. His works on poetry include: Tian Yan Garret Collection (天延阁集) and Mei Shi Anthology (梅氏诗略).

THE WATZMANN BY ADRIAN LUDWIG RICHTER

ADRIAN LUDWIG RICHTER (1803-1884) 

The Watzmann  (2,713m - 8,901ft) 

Germany (Bavarian Alps)

In The Watzmann,1826, oil on canvas, Neue Pinalothek, Munchen 

The mountain 
The Watzmann (2,713m - 8,901ft) is a mountain in the Bavarian Alps south of the village of Berchtesgaden. It is the third highest in Germany, and the highest located entirely on German territory. Three main peaks array on a N-S axis along a ridge on the mountain's taller western half: Hocheck (2,651 m), Mittelspitze (Middle Peak, 2,713 m) and Sьdspitze (South Peak, 2,712 m).
The Watzmann massif also includes the 2,307 m Watzmannfrau (Watzmann Wife, also known as Kleiner Watzmann or Small Watzmann), and the Watzmannkinder (Watzmann Children), five lower peaks in the recess between the main peaks and the Watzmannfrau.
The entire massif lies inside Berchtesgaden National Park.
The Watzmann Glacier is located below the famous east face of the Watzmann in the Watzmann cirque and is surrounded by the Watzmanngrat arête, the Watzmannkindern and the Kleiner Watzmann. The size of the glacier reduced from around 30 hectares (74 acres) in 1820 until it split into a few fields of firn, but between 1965 and 1980 it advanced significantly again and now has an area of 10.1 hectares (25 acres). Above and to the west of the icefield lie the remains of a transport-bomber that crashed in October 1940.
Amongst the other permanent snow and icefields the Eiskapelle ("Ice Chapel") is the best known due to its easy accessibility from St. Bartholomä. The Eiskapelle may well be the lowest lying permanent snowfield in the Alps. Its lower end is only 930 metres high in the upper Eisbach valley and is about an hour's walk from St. Bartholomä on the Königssee. The Eiskapelle is fed by mighty avalanches that slide down from the east face of the Watzmann in spring and accumulate in the angle of the rock face. Sometimes a gate-shaped vault forms in the ice at the point where the Eisbach emerges from the Eiskapelle. Before entering there is an urgent warning sign that others have been killed by falling ice.
In the east face itself is another icefield in the so-called Schöllhorn cirque, called the Schöllhorneis, which is crossed by the Kederbach Way (Kederbacher-Weg). The cirque and icefield are named after the Munich citizen, Christian Schöllhorn, who was the first victim on the east face. On 26 May 1890 he fell at the upper end of the icefield into the randkluft and was fatally injured. Another small nameless snowfield is located several hundred metres below the Mittelspitze also in the east face.

The painter 

Adrian Ludwig Richter was a German painter and etcher, born at Dresden, the son of the engraver Karl August Richter, from whom he received his training;  but he was strongly influenced by Erhard and Chodowiecki. He was the most popular, and in many ways the most typical German illustrator of the middle of the 19th century. His work is as typically German and homely as are the fairy-tales of Grimm. Richter visited Italy from 1823–1826, and his Thunderstorm in the Sabine Mountains at the Staedel Museum in Frankfurt is one of the rare Italian subjects from his brush. In 1828 he worked as designer for the Meissen factory, and in 1841 he became professor and head of the landscape atelier at the Dresden Academy.  As a painter Richter aimed at a thorough blending of the figure element with the landscape and may be judged by the following examples: "Harvest Procession in the Campagna" (1833) and three others in the Leipzig Museum: "Ferry at the Schreckenstein" (1836) and "Bridal Procession in Springtime" (1847), in the Dresden Gallery; "View of the Riesengebirge" (1839), in the National Gallery, Berlin. One of his most notable protégés was Hermann Lungkwitz.

Among his 240 etchings are about 140 views in Saxony, others of Salzburg, Rome, and the Campagna. His individuality is most completely revealed in his 3000 or more drawings.  An eye disease put a stop to the practice of his art in 1874; he was pensioned in 1877, and died at Loschwitz, near Dresden.

SKADI MONS BY NASA MAGELLA MISSION

NASA MAGELLAN MISSION (1989-1994)

Skadi Mons (11, 500m or 11, 5 km -  37,730 ft or 7 miles) 

Venus planet (Maxwell Montes)

Photographed on 7 march 1996  

The mountain 

Skadi Mons 10,700m or 10, 7 km -  35,105 ft or 6, 65 mi) is a mountain on planet Venus, in Maxwell Montes, at the center of Ishtar Terra. It is the highest point of the planet with an altitude of about 10,700 meters above the mean planetary radius. On this image it is located along the right hand part. 

Maxwell Montes is a mountain massif on the planet Venus, located on Ishtar Terra, the more northern of the planet's two major highlands. The western slopes are very steep, whereas the eastern slopes descend gradually into Fortuna Tessera. Due to its elevation it is the coolest (about 380 °C or 716 °F) and least pressurised (about 45 bar or 44 atm) location on the surface of Venus. 

By using radar to probe through the permanent and thick clouds in the Venusian atmosphere and make observations of the surface, scientists at the American Arecibo Radio Telescope in Puerto Rico discovered the extensive highland on Venus that came to be called Maxwell Montes in 1967.
In 1978, the space probe Pioneer Venus 1 went into orbit around Venus for the purpose of making radar observations of the Venusian surface. These observations made possible the creation of the first topographic map of the surface of Venus, and confirmed that a point within Maxwell Montes is the highest point above the average level of the planet's surface.
Maxwell Montes, Alpha Regio, and Beta Regio are the three exceptions to the rule that the surface features of Venus are to be named for females.
Maxwell Montes is named for James Clerk Maxwell whose work in mathematical physics predicted the existence of radio waves, which made radar, and thus the surface observations of Venus, possible.
The name, originally given by Ray Jurgens in 1970 on the urging of Tommy Gold, was approved by the International Astronomical Union's Working Group for Planetary System Nomenclature (IAU/WGPSN) between 1976 and 1979.
Source: 
- NASA Jet Propulsion Laboratory / CalTech

The image capturer
This Magellan full resolution radar image is centered at 65 degrees north latitude, zero degrees east longitude, along the eastern edge of Lakshmi Planum and the western edge of Maxwell Montes and its highest peak,  Skadi Mons. The plains of Lakshmi are made up of radar-dark, homogeneous, smooth lava flows. Maxwell is made up of parallel ridges 2 to 7 km (1.2 to 4.2 miles) apart and is interpreted to have formed by compressional tectonics. The image is 300 km (180 miles) wide.
The Magellan spacecraft, named after the 16th century Portuguese explorer whose expedition first circumnavigated the Earth, was launched May 4, 1989, and arrived at Venus on August 10, 1990. Magellan's solid rocket motor placed it into a near-polar elliptical orbit around the planet. During the first 8-month mapping cycle around Venus, Magellan collected radar images of 84% of the planet's surface, with resolution 10 times better than that of the earlier Soviet Venera 15 and 16 missions. Altimetry and radiometry data also measured the surface topography and electrical characteristics.
During the extended mission, two further mapping cycles from May 15, 1991 to September 14, 1992 brought mapping coverage to 98% of the planet, with a resolution of approximately 100m.
Precision radio tracking of the spacecraft will measure Venus' gravitational field to show the planet's internal mass distribution and the forces which have created the surface features. Magellan's data will permit the first global geological understanding of Venus, the planet most like Earth in our solar system.
Magellan Synthetic Aperture Radar (SAR) data is combined with radar altimetry to develop a three-dimensional map of the surface. The vertical scale in this perspective has been exaggerated 22.5 times. Rays cast in a computer intersect the surface to create a three-dimensional perspective view. Simulated color and a digital elevation map developed by the U.S. Geological Survey, are used to enhance small-scale structure. The simulated hues are based on color images recorded by the Soviet Venera 13 and 14 spacecraft. The image was produced at the JPL Multimission Image Processing Laboratory.
Source: 

- NASA Jet Propulsion Laboratory / CalTech

MOUNT OLYMPUS (TASMANIA) BY W. C. PIGUENIT

WILLIAM CHARLES PIGUENIT (1836 -1914) 

Mount Olympus (1,472 m - 4,829 ft)

Australia (Tasmania) 

In Mount Olympus, Lake St Clair, Tasmania, the source of the Derwent  
Art Gallery of New South Wales 

The mountain 

Mount Olympus (1,472 m - 4,829 ft ) - not to be confused with the most famous mount Mytikas -Mount Olympus in Greece -  is a mountain peak within the Cradle Mountain-Lake St Clair National Park in central Tasmania, Australia. It ranks at the 12th highest mountain in Tasmania and the 68th highest mountain in Australia. The nearest peaks are Mount Byron, Mount Cuvier, Mount Ida, Mount Manfred, Mount Hugel, and Mount Gould. Mount Olympus belongs to the Tasmania Connoisseurs Peaks Challenge peak list.  The nearest towns, villages or cities to Mount Olympus are the town of Queenstown (46.7km), the village of Tullah (53.4km) and the town of Rosebery (56.4km).

The nearest road to Mount Olympus is a sealed road that is un-named (9.18km ). The nearest sealed road to Mount Olympus is the Lyell Highway (13.6km away).

Source: 

- Peakery.com 

The painter 

William Charles Piguenit also known as W.C. Piguenit or Bill Piguenit was a australian  landscape painter, amateur photographer, draughtsman and explorer, born in Hobart Town, Van Diemen’s Land. The family can be traced back to Pons, in the province of Saintonge, France, from which, as Huguenots, they escaped after the revocation of the Edict of Nantes in 1685 to settle in Bristol, Somerset. William Charles attended Cambridge House Academy in Hobart; a school report of 18 December 1849 praises his 'mapping, particularly that of Van Diemen’s Land’. In September 1850, as an assistant draughtsman, he joined the Tasmanian Lands and Survey Department where much of his time was spent preparing maps of Tasmania. 

When Piguenit exhibited at Melbourne in 1870, showing a watercolour sketch of Mount Wellington from the Huon Road, the Daily Telegraph of 20 July called him 'a young artist who gives promise of better things’. His love for the Tasmanian landscape and his improved artistic ability led to his being invited to accompany James R. Scott’s expedition to Arthur Plains and Port Davey in March 1871 as official artist. The results of the trip formed the basis for later illustrations in the Picturesque Atlas of Australasia and in R.M. Johnston’s Systematic Account of the Geology of Tasmania. 
Having won another silver medal from the academy in 1875 for Mount Olympus, Lake St Clair, Tasmania (see above), Piguenit sent five of his Grose Valley oil landscapes to the academy’s 1876 exhibition and was awarded a certificate of merit for one, though the Sydney Mail critic was tepid in his praise: 'It would be enough to say that they are all very nicely painted and that all have about the same colour and tone’.
Regarded as the leading Australian-born landscape painter in the latter part of the nineteenth century, Piguenit was a founding committee member of the Art Society of New South Wales (elected Vice President in 1886) and regularly showed work in its exhibitions. He was represented in many major exhibitions, such as the 1880 Melbourne International, and he received many awards, including silver medals in 1874 and 1875 from the NSW Academy of Art, two second prizes at the 1888 Melbourne Centennial International Exhibition and gold medals from the 1883 Calcutta International and the 1888 Queensland Art Society and Tasmanian Juvenile Industries exhibitions. He was hung in the Paris Salon in 1893 and at the Chicago World’s Fair in 1894 (Scene on the Upper Nepean River, now AGNSW). A Tasmanian view near Prince of Wales Bay was presented by the Government House Literary Society to their founder and patron, Lady Hamilton, on her departure in 1892.
Source: 

- Design & Art Australia online

BEN NEVIS PAINTED BY SIDNEY RICHARD PERCY

 SIDNEY RICHARD PERCY (1821-1886) 

Ben Nevis (1,344 m - 4, 118 ft)

Great Britain - Scotland

In Carn Dearg and Ben Nevis from Achintee 

The mountain 

Ben Nevis  (1,344 m - 4, 118 ft)  in Scottish Gaelic: Beinn Nibheis is the highest mountain in the British Isles, located in Scotland, at the western end of the Grampian Mountains in the Lochaber area of the Scottish Highlands, close to the town of Fort William.
The mountain is a popular destination, attracting an estimated 100,000 ascents a year, around three-quarters of which use the Pony Track from Glen Nevis. The 700 metre - 2,300 ft cliffs of the north face are among the highest in Scotland, providing classic scrambles and rock climbs of all difficulties for climbers and mountaineers. They are also the principal locations in Scotland for ice climbing.
The summit, which is the collapsed dome of an ancient volcano, features the ruins of an observatory which was continuously staffed between 1883 and 1904. The meteorological data collected during this period are still important for understanding Scottish mountain weather. C. T. R. Wilson was inspired to invent the cloud chamber after a period spent working at the observatory.
The first recorded ascent of Ben Nevis was made on 17 August 1771 by James Robertson, an Edinburgh botanist, who was in the region to collect botanical specimens. Another early ascent was in 1774 by John Williams, who provided the first account of the mountain's geological structure. John Keats climbed the mountain in 1818, comparing the ascent to "mounting ten St. Pauls without the convenience of a staircase".  The following year William MacGillivray, who was later to become a distinguished naturalist, reached the summit only to find "fragments of earthen and glass ware, chicken bones, corks, and bits of paper". It was not until 1847 that Ben Nevis was confirmed by the Ordnance Survey as the highest mountain in Britain and Ireland, ahead of its rival Ben Macdhui.
The summit observatory was built in the summer of 1883, and would remain in operation for 21 years. The first path to the summit was built at the same time as the observatory and was designed to allow ponies to carry up supplies, with a maximum gradient of one in five.  The opening of the path and the observatory made the ascent of the Ben increasingly popular, all the more so after the arrival of the West Highland Railway in Fort William in 1894.  Around this time the first of several proposals was made for a rack railway to the summit, none of which came to fruition.
In 2000, the Ben Nevis Estate, comprising all of the south side of the mountain including the summit, was bought by the Scottish conservation charity the John Muir Trust.

The painter 
Sidney Richard Percy had his greatest success painting landscapes of grazing cattle, typically set against backgrounds of distant mountains and cloudy skies. The prevailing hues of his landscapes are earth tones and soft greens, accentuated by a variety of pastel hues. The detail in his work is part of its appeal, and "it was remarked that his rocks and stones were sufficiently accurate to have served as illustrations to the writings of Sir Roderick Murchison, the popular 19th-century geologist." Llyn-y-Ddinas, North Wales, one of his more popular works on the internet, displays these qualities. He also painted landscapes of farm fields, wheel-rutted country roads, and the occasional boat scene on a lake. Although he generally painted in oils, a number of small watercolors on cardboard exist, typically unsigned, that are his work. The family, and his son the painter Herbert Sidney Percy in particular, referred to these as "potboilers", meaning that they were quickly, and often crudely executed, yet easily and cheaply sold "to put food on the table" when working on larger, more time-consuming oils for exhibition, or commissions. Many of these watercolor "potboilers" were done in the field, and then brought back to the studio to refer to when executing a more formal oil on canvas.
Sidney Richard Percy was extremely popular during the early part of his career, which for a short time brought him a fair amount of income. Among his patrons during this time was Prince Albert the Royal consort who in 1854 gave Percy's landscape of A view of Llyn Dulyn, North Wales, which had just been exhibited at the Royal Academy, as a gift to his wife Queen Victoria. This painting still hangs today in the Royal Collection. Unfortunately Sidney Richard Percy outlived his popularity, and the art world was more excited about impressionism and other styles than landscapes when he died. Today though, his work is much sought after, and his better paintings bring much higher prices in auction than any of those of his brethren in the Williams family.
When the Athenaeum in 1886 (i. 592) ran an obituary for Sidney Richard Percy they called him, "the well-known and popular painter, founder of the so-called School of Barnes . . ." Although depending on the context of what is meant by the so-called Barnes School, this is a bit of an injustice to his father Edward Williams, whom it might be argued is the founder of the Barnes School of painters, but it illustrates the popularity that Sidney Richard Percy held with the art-buying public of his day.

CAP CANAILLE PAINTED BY ROGER FRY

Roger Fry (1866-1934)

Cap Canaille (394 m -1292, 65 ft)

France

in  View of Cassis, 1900 

The mountain
Cap Canaille (394m) is a cape in France located in the the Provence-Alpes-Côte d'Azur region with a culminating point called " La Grande Tête"  (The great Head). It is located in the city of Cassis, north-west of La Ciotat. Its red rock is composed of detritic limestones. Going into the Mediterranean Sea, it consists of rocky and steep banks dominated by the western extremity of the Soubeyranes cliffs. The latter are, after the Slieve League in Ireland, one of the highest maritime cliffs in Europe and constitute, in La Ciotat, the highest cliffs in France with a maximum altitude of 394 meters. A road, the D141 called "Route des Crêtes", connects Cassis to La Ciotat by approaching the edge of the cliff.  Several gazebos are set up there with a spectacular view on the French Riviera and the sea. Cap Canaille is well known for having inspired a lot of painters of the end of 19th century and beginning of 20th.
Its name is due to a distortion of the Provençal langage  Cap Naio  "Cap Naille" in French, meaning "Swimming mountain " or a distorsion of the roman latin name Mons Canalis meaning " Mountain  of Aqueducts".

The Painter 
Roger Eliot Fry was an English painter and critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism. He was the first figure to raise public awareness of modern art in Britain, and emphasised the formal properties of paintings over the "associated ideas" conjured in the viewer by their representational content. He was described by the art historian Kenneth Clark as "incomparably the greatest influence on taste since Ruskin ... In so far as taste can be changed by one man, it was changed by Roger Fry". The taste Fry influenced was primarily that of the Anglophone world, and his success lay largely in alerting an educated public to a compelling version of recent artistic developments of the Parisian avant-garde.
As a painter Fry was experimental (his work included a few abstracts), but his best pictures were straightforward naturalistic portraits, although he did not pretend to be a professional portrait - painter. In his art he explored his own sensations and gradually his own personal visions and attitudes asserted themselves. His work was considered to give pleasure, 'communicating the delight of unexpected beauty and which tempers the spectator's sense to a keener consciousness of its presence'. Fry did not consider himself a great artist, 'only a serious artist with some sensibility and taste'. 

FUJIYAMA / 富士山 (n°33 e) BY HOKUSAI

KATSUSHIKA HOKUSAÏ (1760-1849) 

Fujiyama / 富士山 (3,776.24 m -12,389 ft)
Japan

Clear Weather, n°33 from the series 36 Views of Mt. Fuji, 1832,  early print,
Legion of Honor Museum, San Fransisco

About the 36 Views of Mt Fuji 
Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjūrokkei) is a series of landscape prints　created by the Japanese ukiyo-e artist Hokusai (1760?1849). The series depicts Mount Fuji from different locations and in various seasons and weather conditions. The original thirty-six prints were so popular that Hokusai expanded the series by ten. 

The earliest impressions (whose the one below is) appear faded when compared to the versions usually seen, but are closer to Hokusai's original conception. The original prints have a deliberately uneven blue sky, which increases the sky's brightness and gives movement to the clouds. The peak is brought forward with a halo of Prussian blue. Subsequent prints have a strong, even blue tone and the printer added a new block, overprinting the white clouds on the horizon with light blue. Later prints also typically employ a strong benigara (Bengal red) pigment, which lent the painting its common name of Red Fuji. The green block colour was recut, lowering the meeting point between forest and mountain slope.

The artist
Katsushika Hokusai (葛飾 北斎)  was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He was influenced by such painters as Sesshu, and other styles of Chinese painting. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 c. 1831) which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s.
Hokusai created the "Thirty-Six Views of Mt Fuji " both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. In this series, Mt Fuji is painted on different meteorological conditions, in different hours of the days, in different seasons and from different places.

The mountain 
This is the legendary Mount Fuji or Fujiyama (富士山).
It is located on Honshu Island and is the highest mountain peak in Japan at 3,776.24 m (12,389 ft). Several names are attributed to it:  "Fuji-san", "Fujiyama" or, redundantly, "Mt. Fujiyama". Usually Japanese speakers refer to the mountain as "Fuji-san".  The other Japanese names for Mount Fuji,  have become obsolete or poetic like: Fuji-no-Yama (ふじの山 - The Mountain of Fuji), Fuji-no-Takane (ふじの高嶺- The High Peak of Fuji), Fuyō-hō (芙蓉峰 - The Lotus Peak), and Fugaku (富岳／富嶽), created by combining the first character of 富士, Fuji, and 岳, mountain.
Mount Fuji is an active stratovolcano that last erupted in 1707–08. Mount Fuji lies about 100 kilometres (60 mi) south-west of Tokyo, and can be seen from there on a clear day.
Mount Fuji's exceptionally symmetrical cone, which is snow-capped several months a year, is a well-known symbol of Japan and it is frequently depicted in art and photographs, as well as visited by sightseers and climbers.
Mount Fuji is one of Japan's Three Holy Mountains (三霊山) along with Mount Tate and Mount Haku. It is also a Special Place of Scenic Beauty and one of Japan's Historic Sites.
It was added to the World Heritage List as a Cultural Site on June 22, 2013. As per UNESCO, Mount Fuji has “inspired artists and poets and been the object of pilgrimage for centuries”. UNESCO recognizes 25 sites of cultural interest within the Mt. Fuji locality. These 25 locations include the mountain itself, Fujisan Hongū Sengen Shrine and six other Sengen shrines, two lodging houses, Lake Yamanaka, Lake Kawaguchi, the eight Oshino Hakkai hot springs, two lava tree molds, the remains of the Fuji-kō cult in the Hitoana cave, Shiraito Falls, and Miho no Matsubara pine tree grove; while on the low alps of Mount Fuji lies the Taisekiji temple complex, where the central base headquarters of Nichiren Shoshu Buddhism is located.

MOUNT GAMBIER / ERENG BALAM BY EUGENE VON GUERARD

EUGENE VON GUERARD  (1811-1901)

Mont Gambier / Ereng Balam (190 m - 620 ft)

Australia 

Painted in 1880

(Click Image to enlarge) 

The mountain 

Mount Gambier (190 m -  620 ft) also known as Ereng Balam, meaning  "eagle hawk"  is a young volcano and a maar complex located in South Australia associated with the Newer Volcanics Province. It contains four lake-filled maars called Blue Lake, Valley Lake, Leg of Mutton Lake, and Brownes Lake. It is one of Australia's youngest volcanoes, but estimates of the age have ranged from over 28,000 to less than 4,300. The most recent estimate, based on radiocarbon dating of plant fibers in the main crater (Blue Lake) suggests an eruption a little before 6000 years ago. Mount Gambier is thought to have formed by a mantle plume centre called the East Australia hotspot which may currently lie offshore.

The mountain was sighted by Lieutenant James Grant on 3 December 1800 from the survey brig HMS Lady Nelson and named for Lord James Gambier, Admiral of the Fleet.

This area is part of the UNESCO-endorsed Kanawinka Geopark.

Of the original four lakes found within the maars, only two remain. The Leg of Mutton Lake (named for the outline of its shoreline) became permanently dry in the 1990s. Brownes Lake suffered a similar fate during the late 1980s. Both these lakes were quite shallow; their demise is attributed to the lowering of the water table as a result of many years of land drainage to secure farmland.

The city of Mount Gambier partially surrounds the maar complex.

Source:

- Wikipedia 

The painter 

Johann Joseph Eugene von Guerard was an Austrian-born artist, active in Australia from 1852 to 1882. Known for his finely detailed landscapes in the tradition of the Düsseldorf school of painting, he is represented in Australia's major public galleries, and is referred to in the country as Eugene von Guerard. In 1852 von Guerard arrived in Victoria, Australia, determined to try his luck on the Victorian goldfields. As a gold-digger he was not very successful, but he did produce a large number of intimate studies of goldfields life, quite different from the deliberately awe-inspiring landscapes for which he was later to become famous. Realizing that there were opportunities for an artist in Australia, he abandoned the diggings and was soon undertaking commissions recording the dwellings and properties of wealthy pastoralists.

By the early 1860s, von Guerard was recognized as the foremost landscape artist in the colonies, touring Southeast Australia and New Zealand in pursuit of the sublime and the picturesque.  He is most known for the wilderness paintings produced during this time, which are remarkable for their shadowy lighting and fastidious detail.  Indeed, his View of Tower Hill in south-western Victoria was used as a botanical template over a century later when the land, which had been laid waste and polluted by agriculture, was systematically reclaimed, forested with native flora and made a state park. The scientific accuracy of such work has led to a reassessment of von Guerard's approach to wilderness painting, and some historians believe it likely that the landscapist was strongly influenced by the environmental theories of the leading scientist Alexander von Humboldt. Others attribute his 'truthful representation' of nature to the criterion for figure and landscape painting set by the Düsseldorf Academy.
In 1866 his Valley of the Mitta Mitta was presented to the National Gallery of Victoria in Melbourne; in 1870 the trustees purchased his Mount Kosciusko shown in this article was titled "Northeast view from the northern top of Mount Kosciusko", which is actually  "from Mount Townsend".
In 2006, the City of Greater Geelong purchased his 1856 painting View of Geelong for A$3.8M. His painting, Yalla-y-Poora, is in the Joseph Brown Collection on display at the National Gallery of Victoria.  The State Library of New South Wales in Sydney holds an extensive collection of working sketchbooks by Eugene von Guerard, as well as larger drawings and paintings and a diary. The sketchbooks cover regions as diverse as Italy and Germany, Tasmania, New South Wales, and of course, Victoria.
In 1870 von Guerard was appointed the first Master of the School of Painting at the National Gallery of Victoria, where he was to influence the training of artists for the next 11 years. His reputation, high at the beginning of this period, had faded somewhat towards the end because of his rigid adherence to picturesque subject matter and detailed treatment in the face of the rise of the more intimate Heidelberg School style. Amongst his pupils were Frederick McCubbin and Tom Roberts. Von Guerard retired from his position at the National Gallery School the end of 1881 and departed for Europe in January 1882. In 1891 his wife died. Two years later, he lost his investments in the Australian bank crash and he lived in poverty until his death in Chelsea, London, on 17 April 1901.
Several paintings of mountains of Australia and New Zealand by Eugène von Guerard are published in this blog....
Source: 
- Wandering Vertexes blog

THE ZINALROTHORN PAINTED BY EDWARD H. COMPTON

EDWARD HARRISON COMPTON (1881-1960)  

The Zinalrothorn (4,221 m -  13,848 ft)

Switzerland (Valais) 

The Zinalrothorn form Bratten Zermatt in 1920

(Click image to enlarge)

The mountain 

The Zinalrothorn (4,221 m - 13,848 ft) is a mountain in the Alps (Pennine Alps) in Switzerland. Its name comes from the village of Zinal lying on the north side and from the German word Rothorn which means Red Peak. Until 1864 the mountain was known locally as Moming.

The Zinalrothorn is one of the high summits separating the Matter valley on the east and the Val d'Anniviers (or more precisely the Val de Zinal) on the west. The summit of the Weisshorn (4,505 m) is located 5 km to the north and the Dent Blanche 7 km to the west. At the western foot of the mountain lies the large Zinal Glacier and, on the northern side, the Moming Glacier. L'Epaule (the shoulder) is a minor summit lying at the base of the northern ridge. The villages of Täsch and Zermatt are the closest while Zinal on the north-west is located further (9 km).
Climbing
The first ascent was made on 22 August 1864 via the north ridge by Leslie Stephen and Florence Crauford Grove with guides Jakob Anderegg and Melchior Anderegg (AD). They left Zinal at 1 a.m. and ascended the Zinal Glacier. The reached the shoulder from the ridge connecting the Blanc de Moming at the base of the northern ridge at 9 a.m. The traverse of the ridge to the summit took them 2 hours, Stephen wrote later that it was 'the nastiest piece of climbing I have ever accomplished'.
The slightly less difficult normal route, the south-east ridge, was first climbed by the combined parties of Clinton Thomas Dent with guide Alexander Burgener, and George Augustus Passingham, with guides Ferdinand Imseng and Franz Andermatten on 5 September 1872.
The first winter and ski ascent was by Marcel Kurz and T. Theytaz on 7 February 1914.
In the 1880s Mrs Aubrey Le Blond, the first president of the Ladies' Alpine Club, left her detachable skirt by mistake up the Zinalrothorn. To preserve her modesty, she made the decision to climb the mountain a second time to retrieve it rather than return to Zermatt in trousers.
Source: 
- Summitpost. org

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 

MANASLU / KUTANG PAINTED BY NICHOLAS ROERICH

NICHOLAS ROERICH  (1874-1947)

Manaslu or Kutang  (8, 163m - 26,781 ft)) 

Nepal 

Painted in 1941- Nicholas Roerich  Museum NY

The mountain 

Manaslu  (8, 163m - 26,781 ft)  (Nepali: मनास्लु) also known as Kutang, is the eighth highest mountain in the world. It is located in the Mansiri Himal, part of the Nepalese Himalayas, in the west-central part of Nepal. Its name, which means "mountain of the spirit", comes from the Sanskrit word manasa, meaning "intellect" or "soul". Manaslu was first climbed on May 9, 1956 by Toshio Imanishi and Gyalzen Norbu, members of a Japanese expedition. It is said that "just as the British consider Everest their mountain, Manaslu has always been a Japanese mountain".

Manaslu is the highest peak in the Gorkha District and is located about 64 km (40 mi) east of Annapurna. The mountain's long ridges and valley glaciers offer feasible approaches from all directions, and culminate in a peak that towers steeply above its surrounding landscape, and is a dominant feature when viewed from afar.
The Manaslu region offers a variety of trekking options. The popular Manaslu trekking route of 177 kilometres (110 mi), skirts the Manaslu massif over the pass down to Annapurna. The Nepalese Government only permitted trekking of this circuit in 1991. The trekking trail follows an ancient salt-trading route along the Burhi Gandak River. En route, 10 peaks over 6,500 metres -21,300 ft are visible, including a few over 7,000 metres - 23,000 ft. The highest point reached along the trek route is the Larkya La at an elevation of 5,106 metres -16,752 ft.
As of May 2008, the mountain has been climbed 297 times with 53 fatalities.
The Manaslu Conservation Area has been established with the primary objective of achieving conservation and sustainable management of the delimited area, which includes Manaslu.
Climbing
All routes to the base camp of Manaslu begin in Kathmandu. Expedition Time: Approximate time 62 days. Bus from Kathmandu to Gorkha. Trek from Gorkha to Arughat. Trek through rice paddies to Sundi Khola. Trek through forest to Macha Khola. Trek along riverbanks of Budhi Gandaki to Jagat. Continue along the river to Deng. Continue along river to Ghap, a Buddhist village. Continue along river to Sho. Trek to Pungen Gompa. Rest day. Trek to Sama Gaon. Trek to Manaslu base. Rest in Manaslu base. Climb Manaslu 35 to 40-day window. Trek Out: Trek down to Samagaon. Trek down to Nyak. Trek down to Jagat. Trek down to Macha Khola. Trek down to Arughat. Trek down to Gorkha. Bus to Kathmandu.

The painter 
Nicholas Roerich known also as Nikolai Konstantinovich Rerikh (Никола́й Константи́нович Ре́рих) is quite an important figure of mountain paintings in the early 20th century.  He was a Russian painter, writer, archaeologist, theosophist, perceived by some in Russia as an enlightener, philosopher, and public figure. In his youth was he was quite influenced by a movement in Russian society around the occult and was interested in hypnosis and other spiritual practices. His paintings are said to have hypnotic expression.
Born in Saint Petersburg, Russia, he lived in various places around the world until his death in Naggar, Himachal Pradesh, India. Trained as an artist and a lawyer, his main interests were literature, philosophy, archaeology, and especially art. After the February Revolution of 1917 and the end of the czarist regime, Roerich, a political moderate who valued Russia's cultural heritage more than ideology and party politics, had an active part in artistic politics. With Maxim Gorky and Aleksandr Benois, he participated with the so-called "Gorky Commission" and its successor organization, the Arts Union (SDI).
After the October Revolution and the acquisition of power of Lenin's Bolshevik Party, Roerich became increasingly discouraged about Russia's political future. During early 1918, he, Helena, and their two sons George and Sviatoslav emigrated to Finland. After some months in Finland and Scandinavia, the Roerichs relocated to London, arriving in mid-1919. Later, a successful exhibition resulted in an invitation from a director at the Art Institute of Chicago, offering to arrange for Roerich's art to tour the United States. During the autumn of 1920, the Roerichs traveled to America by sea.  The Roerichs remained in the United States from October 1920 until May 1923.
After leaving New York, the Roerichs – together with their son George and six friends – began the five-year-long 'Roerich Asian Expedition' that, in Roerich's own words: "started from Sikkim through Punjab, Kashmir, Ladakh, the Karakoram Mountains, Khotan, Kashgar, Qara Shar, Urumchi, Irtysh, the Altai Mountains, the Oyrot region of Mongolia, the Central Gobi, Kansu, Tsaidam, and Tibet" with a detour through Siberia to Moscow in 1926.
In 1929 Nicholas Roerich was nominated for the Nobel Peace Prize by the University of Paris. He received two more nominations in 1932 and 1935. His concern for peace resulted in his creation of the Pax Cultura, the "Red Cross" of art and culture. His work for this cause also resulted in the United States and the twenty other nations of the Pan-American Union signing the Roerich Pact on April 15, 1935 at the White House. The Roerich Pact is an early international instrument protecting cultural property.
In 1934–1935, the U.S. Department of Agriculture (then headed by Roerich admirer Henry A. Wallace) sponsored an expedition by Roerich and USDA scientists H. G. MacMillan and James F. Stephens to Inner Mongolia, Manchuria, and China.
Roerich was in India during the Second World War, where he painted Russian epic heroic and saintly themes, including: Alexander Nevsky, The Fight of Mstislav...
In 1942, Roerich received Jawaharlal Nehru at his house in Kullu. Together they discussed the fate of the new world: "We spoke about Indian-Russian cultural association, it is time to think about useful and creative cooperation ...”.
Gandhi would later recall about several days spent together with Roerich's family: "That was a memorable visit to a surprising and gifted family where each member was a remarkable figure in himself, with a well-defined range of interests." ..."Roerich himself stays in my memory. He was a man with extensive knowledge and enormous experience, a man with a big heart, deeply influenced by all that he observed". During the visit, "ideas and thoughts about closer cooperation between India and USSR were expressed. Now, after India wins independence, they have got its own real implementation[clarification needed]. And as you know, there are friendly and mutually-understanding relationships today between both our countries".
In 1942, the American-Russian cultural Association (ARCA) was created in New York.
Its active participants were Ernest Hemingway, Rockwell Kent, Charlie Chaplin, Emil Cooper, Serge Koussevitzky, and Valeriy Ivanovich Tereshchenko. The Association's activity was welcomed by scientists like Robert Millikan and Arthur Compton.
Roerich died on December 13, 1947.
Presently, the Nicholas Roerich Museum in New York City is a major institution for Roerich's artistic work. Numerous Roerich societies continue to promote his theosophical teachings worldwide. His paintings can be seen in several museums including the Roerich Department of the State Museum of Oriental Arts in Moscow; the Roerich Museum at the International Centre of the Roerichs in Moscow; the Russian State Museum in Saint Petersburg, Russia; a collection in the Tretyakov Gallery in Moscow; a collection in the Art Museum in Novosibirsk, Russia; an important collection in the National Gallery for Foreign Art in Sofia, Bulgaria; a collection in the Art Museum in Nizhny Novgorod Russia; National Museum of Serbia ; the Roerich Hall Estate in Nagar village in Kullu Valley, India; the Sree Chitra Art Gallery, Thiruvananthapuram, India;[17] in various art museums in India; and a selection featuring several of his larger works in The Latvian National Museum of Art.

_______________________________
2017 - Wandering Vertexes...
by Francis Rousseau 

THE HOCHALMSPITZE PAINTED BY MARCUS PERNHART

MARCUS PERNHART  (1824-1871)

The Hochalmspitze (3,360 m - 11, 020 ft) 

Austria 

The mountain

The Hochalmspitze (3,360 m -  11,020 ft) above the Adriatic, is the highest mountain of the Ankogel Group in the High Tauern range, located east of Mallnitz in the Austrian state of Carinthia. It is sometimes called "Tauern Queen" (German: Tauernkцnigin) as a counterpart to the "Tauern King", the Grossglockner.
The peak is situated slightly south the main ridge of the Central Eastern Alps and the Alpine divide.
It actually consists of two pinnacles, the Schneeige Hochalmspitze and the higher Apere ("snowless") Hochalmspitze with the summit cross. It has glaciers on its eastern and southern sides. The neighbouring Großelendkopf peak  (3,317 m -10,883 ft), today counts as a separate mountain.
Like most of the High Tauern, the Hochalmspitze massif is formed of granite and gneiss, and many unusual rock formations can be found on its slopes. The mountain lies at the Eastern end of the range. In the northwest, a ridge connects it to Großer Ankogel, the third highest peak in its group, and to the Kцlnbrein Dam. In the south, the Mallnitz Ridge leads to the neighbouring Reisseck Group.
From the summit, the views stretch as far as the Salzburg Alps, the Dolomites and the Julian Alps.
The first official ascent was made in 1859 by the Austrian mountaineer Paul Grohmann, although letters found in 2010 bring this claim into disrepute, as the mountain may have first been climbed four years earlier. In 1913 a mountain hut  was erected by the German and Austrian Alpine Club on the southeastern slope ( 2,215 m(-7,267 ft). In the 1970s plans for a glacier ski resort were developed, but finally abandoned in 1988 when the Austrian Alpine Club was able to purchase large parts of the area.
Source:
 - Summitpost.org 

The Painter 

Marcus (or Markus) Pernhart was a Carinthian  / Slovenian / Austrian painter. He is considered the first Slovene realistic landscape painter. He painted several times Triglav.
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 Pernharts drawing style had fully developed, he was asked by Max from 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 enrgavings 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.
Sources:
- Mountain paintings

MONTS-AUX-SOURCES BY JACOBUS HENDRIK PIERNEEF

JACOBUS HENDRIK PIERNEEF (1886-1957) 

Monts-Aux-Sources (3, 282 m - 10,768 ft)

South Africa - Lesotho border 

The mountain 
Mont-Aux-Sources (3,282 m - 10,768 ft) is a mountain in Southern Africa, forming one of the highest portions of the Drakensberg Range. It is mostly within Lesotho, with parts in the KwaZulu-Natal and Free State provinces of South Africa. The peak is accessible from the Sentinel Car Park near Witsieshoek, via chain ladders.
The Mont-Aux-Sources is part of a basalt plateau which lies at an average elevation of about 10,000 feet (3,050 m). Among the many escarpments that surround the plateau is a sheer wall of 1,000 vertical ft., known as the Amphitheatre and the Sentinel.  The highest point is a peak 3 km from the ,Drakensberg escarpment.
Since important rivers have their sources in the range, the mountainous area was named Mont-Aux- Sources (‘Fountains Mount’) by French missionaries who visited the region in 1836.
Several rivers originate in the Mont-Aux-Sources, foremost of which is the Tugela, which flows eastwards into the Indian Ocean on the KwaZulu-Natal coast. Some 7 km from the Mont-Aux-Sources, the Tugela plunges 947 m in a series of falls in the Royal Natal National Park.
This is the second-highest series of falls in the world.
The Caledon River, one of the main tributaries of the Orange River, has its sources in this massif and flows along the border with Lesotho. Also the Seati (Khubedu), one of the headwater streams of the Orange River, has its origin near Mont-aux-Sources further to the north.
Another important river is the Elands, named the Namahadi in its uppermost section in the area of the Fika-Patso Dam. The Elands flows roughly northwards into the Wilge River, one of the major tributaries of the Vaal. The Vaal River flows westwards eventually into the Orange River, which in turn flows into the Atlantic Ocean on the West coast of Southern Africa.

The painter 
Jacobus Hendrik (Henk) Pierneef (usually referred to as Pierneef)  was a South African landscape artist, generally considered to be one of the best of the old South African masters. His distinctive style is widely recognized and his work was greatly influenced by the South African landscape.
Most of his landscapes were of the South African highveld, which provided a lifelong source of inspiration for him. Pierneef's style was to reduce and simplify the landscape to geometric structures, using flat planes, lines and colour to present the harmony and order in nature. This resulted in formalised, ordered and often-monumental view of the South African landscape, uninhabited and with dramatic light and colour.
Pierneef's work can be seen worldwide in many private, corporate and public collections, including the Africana Museum, Durban Art Gallery, Johannesburg Art Gallery, King George VI Art Gallery, Pierneef Museum and the Pretoria Art Gallery.

MOUNT STANLEY PHOTOGRAPHED BY VITTORIO SELLA (2)

VITTORIO SELLA (1859-1943)

 Mount Stanley  (5,109 m- 16, 762 ft)  

Democratic Republic of Congo-Uganda border

The mountain 

Mount Stanley  (5,109 m -16,762 ft) is located in the Rwenzori range and is the highest mountain of both the Democratic Republic of the Congo and Uganda, and the third highest in Africa, after Mount Kilimanjaro (5,895 m -19,340ft) and Mount Kenya (5,199 m - 17,057ft). The peak and several other surrounding peaks are high enough to support glaciers. Mount Stanley is named for the journalist and explorer, Sir Henry Morton Stanley. It is part of the Rwenzori Mountains National Park, a UNESCO world Heritage Site. 

Mt. Stanley consists of two twin summits and several lower peaks which are : 

Margherita Peak (5,109m - 16,763ft), Alexandra Peak (5,091m - 16,703ft), Albert Peak (5,087m - 16,690ft), Savoia Peak (4,977m - 16,330ft), Ellena Peak (4,968m -16,300ft), Elizabeth Peak (4,929m - 16,170 ft), Phillip Peak (4,920m - 16,140ft), Moebius Peak (4,916m - 16,130 ft) and Great Tooth (4,603m - 15,100ft).

Mt. Stanley was first climbed in 1906 by the Prince Luigi Amedeo di Savoia , Duke of the Abruzzi, (1873-1933),  J. Petigax, C. Ollier, and J. Brocherel. He is known as well for his Arctic explorations and for his mountaineering expeditions, particularly to Mount Saint Elias (Alaska–Yukon) and K2 (Pakistan–China). Margherita Peak is named after Queen Margherita of Italy the prince's cousin.

The Rwenzori Mountains National Park is considered a model for integration of cultural values into the Protected Area Management framework as an innovative approach to resource management, the first of its kind in Africa.  As a result the local communities have embraced collaborative resource management initiatives. Given its significance as one of the biodiversity hotspots in the Albertine Rift, various local and international NGOs have supported the management and conservation of the property. A General Management Plan guides management operations on-site. Key challenges to address include illegal felling of trees, snow recession due to global warming, human population pressure adjacent to the property and management of waste generated through tourism operations. UWA is addressing the above threats through resource protection, community conservation education, research and ranger-based monitoring, ecotourism and transboundary initiatives with the DRC. The long-term maintenance of the integrity of the property will be achieved through sustainable financing, ecological monitoring, continued collaboration with key stakeholders andregional cooperation.

Climbing

The Bujuku valley is enclosed within a steep triangle formed by Mount Stanley and Mounts Speke and Baker, the second and third highest Ruwenzori peaks respectively. The worst part about climbing in the Ruwenzori is the approach, as four days of jungle and bogs guard the mountains on both the Zaire and Uganda sides. There are, however, good trails in the mountains, and plenty of huts for overnight. From Mutsori, Zaire, local tribesman are available as guides or porters.

The artist
Vittorio Sella is a mountain italian climber and photographer who took his passion for mountains from his uncle, Quintino Sella, founder of the Italian Alpine Club.  He accomplished many remarkable climbs in the Alps, the first wintering in the Matterhorn and Mount Rose (1882) and the first winter crossing of Mont Blanc (1888).
He took part in various expeditions outside Italy:
- Three in the Caucasus in 1889, 1890 and 1896 where a summit still bears his name;
- The ascent of Mount Saint Elias in Alaska in 1897;
- Sikkim and Nepal in 1899;
- Possibly climb Mount Stanley in Uganda in 1906 during an expedition to the Rwenzori;
- Recognition at  K2   in 1909;
- In Morocco in 1925.
During expeditions in Alaska, Uganda and Karakoram (K2), he accompanied the Duke of Abruzzi, Prince Luigi Amedeo di Savoia.
Sella continues the practice of climbing into his old age, completing his final attempt in the Matterhorn at the age of 76; a climb he had to interrupt the rise following an accident in which one of his guides injured. He died in his hometown during World War II.  His photographic collection is now managed by the Sella Foundation.
His photos mountain are still  considered today to be among the finest ever made.
Jim Curran believes that "Sella remains probably the greatest photographer of the mountain.  His name is synonymous with technical perfection and aesthetic refinement. "
The quality of the pictures of Vittorio Sella is partly explained by the use of a view camera 30 × 40 cm, despite the difficulty of the transportation of such a device, both heavy and fragile in places inaccessible; to be able to transport it safely, he had to make special pieces that can be stored in saddle bags.  His photographs have been widely distributed, either through the press or in the galleries, and were unanimously celebrated; Ansel Adams, who was able to admire thirty-one in an exhibition that was organized at Sella American Sierra Club, said they inspired him "a religious kind of sense of wonder."  Many of his pictures were taken in the mountains for the very first time in the History, which give them a much artistic, historical  but also scientific value ; for example, one could measure the decline in the Rwenzori glaciers in Central Africa.

ARAPAHO PEAK PAINTED BY CHARLES PARTRIDGE ADAMS

CHARLES PARTRIDGE ADAMS (1858–1942)

Arapaho Peak (4,117m- 13, 508ft)

United States of America (Colorado) 

In Arapaho Peaks, 1905, oil on canvas,

The mountain 

When geographical maps refer to Arapaho Peak(4,117 m- 13,508-ft) they refer in reality to North Arapaho Peak , one of the two Arapho peaks (North and South). North Arapho peak is the highest summit of the Indian Peaks in the northern Front Range of the Rocky Mountains of North America. The thirteener is located in the Indian Peaks Wilderness, 7.8 miles (12.6 km) west-southwest (bearing 245°) of the Town of Ward, Colorado, United States, on the Continental Divide separating Roosevelt National Forest and Boulder County from Arapaho National Forest and Grand County.
Between North Arapaho Peak and neighboring South Arapaho Peak sits Arapaho Glacier, which is owned by the City of Boulder as part of its water supply. West of these peaks is Arapaho Pass.
The Colorado Indian Peaks Wilderness is home to many of the best hiking and climbing routes in the state. All 73,391 acres of The Indian Peak Wilderness rests just south of Rocky Mountain National Park; it's basically an extension of its neighboring national park. As Gerry Roach notes in his popular book "It's smaller than Rocky Mountain National Park but no less spectacular." This impressive collection of jagged peaks includes 35 named peaks, 23 of which are over 12,000 ft, while seven are over 13,000 ft. From easy walk-ups to technical 5.5 climbing this mountaineering playground has something for everybody. Only 2 hours from Denver, the IPW can be a popular place for the day hiker, but solitude can be had by those willing to look for it.


The painter 
Charles Partridge Adams was a largely self-taught American landscape artist who painted primarily in Colorado, and secondarily in California. Some paintings were also made in other Rocky Mountain states, the Pacific Northwest and Canada, and a few in Louisiana, the East Coast and Europe.
Adams is widely considered to have been Colorado’s finest landscape artist. He is best known for his stunning views of snowy mountain peaks in early morning or sunset light, or wreathed in storm clouds, and for his luminous sunset and twilight paintings of the river bottoms near Denver. His works show an intensely personal and poetic response to the Colorado mountains and plains, with unusual sensitivity to the changing effects of light, atmosphere and season.
Adams early work in the 1880s was largely representational and somewhat prosaic, with only hints of the more impressionist works to follow. His style began to coalesce in the early 1890s with some excellent luminous sunsets, some of which were in a Barbizon style, but overall his output was still uneven. In the later 1890s his painting became much more consistent, impressionist, and colorful, and this style prevailed through about 1915. After that his style became progressively “looser,” with larger brush strokes, brighter colors, more impasto, and much less attention to foreground and detail. Some paintings left at his death show only traces of his previous skill.
Adams experimented freely with different palettes and lighting, and some of these were much more successful than others. He must have created several hundred paintings of Longs and Meeker Peaks from his studio in Estes Park, Colorado, yet no two are alike, and some are strikingly different.
Some of his earlier paintings include animals or human figures, but he was not very successful at rendering these, and later paintings do not include them.
Roughly half of Adams paintings are oils and half are watercolors, which he began painting in the early 1890s. Although some of his watercolors are masterfully detailed and very carefully done, others are much less detailed, and must have been done very quickly for the tourist trade. As one watercolorist remarked about one of these, “That one must have taken him all of 15 minutes.” Over 950 paintings have been documented. His total output is unknown, but it is estimated to have been 3,000 or more.

PICO DEL TEIDE IN VINTAGE DRAWINGS

VINTAGE DRAWINGS 19th 

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

Tenerife - Canari Islands - Spain 

The mountain 

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

AEOLIS MONS BY NASA CURIOSITY MISSION

NASA CURIOSITY MISSION (since 2012)

Aeolis Mons or Mount Sharp (5, 500 m - 18, 000 ft)

Mars  

3 pictures of Aeolis Mons taken by NASA Curiosity Rover & Curiosity team : 

1. Aeolis Mons photographed by  Curiosity Rover on September 9, 2012

2. Aeolis Mons photographed by Curiosity Rover on September 20, 2012

3.  Aeolis Mons photographed  by Curiosity Rover on August 6, 2012

(Click images to enlarge)  

The mountain

Aeolis Mons (5, 500 m - 18, 000 ft) also called Mount Sharp is a mountain on the surface of the planet Mars. It forms the central peak within Gale crater and is located around 5.08°S 137.85°E, rising 5.5 km (18,000 ft) high from the valley floor. Aeolis Mons is about the same height as Mons Huygens, the tallest lunar mountain, and taller than Mons Hadley visited by Apollo 15. The tallest mountain known in the Solar System is in Rheasilvia crater on the asteroid Vesta, which contains a central mound that rises 22 km  or 22.000 m - 14 mi or 72,000 ft high.
Olympus Mons on Mars is nearly the same height, at 21.9 km (13.6 mi; 72,000 ft) high.
In comparison, Mount Everest / Chomolunga rises to 8.8 km -29,000 ft altitude above sea level, but is only 4.6 km - 15,000 ft  base-to-peak. Africa's Mount Kilimanjaro is about 5.9 km - 19,000 ft altitude above sea level  also 4.6 km base-to-peak. America's Denali, also known as Mount McKinley, has a base-to-peak of 5.5 km -18,000 ft.  The Franco-Italian Mont Blanc/Monte Bianco is 4.8 km -16,000 ft in altitude above sea level.  Mount Fuji, which overlooks Tokyo, Japan, is about 3.8 km -12,000 ft altitude. Compared to the Andes, Aeolis Mons would rank outside the hundred tallest peaks, being roughly the same height as Argentina's Cerro Pajonal; the peak is higher than any above sea level in Oceania, but base-to peak it is considerably shorter than Hawaii's Mauna Kea and its neighbors.
Discovered in the 1970s by NAS,  the mountain remained nameless for perhaps 40 years. When it became a likely landing site, it was given various labels; for example, in 2010 a NASA photo caption called it "Gale crater mound".  In March 2012, NASA unofficially named it "Mount Sharp", for American geologist Robert P. Sharp. The International Astronomical Union, which is responsible for planetary nomenclature for its participants, names large Martian mountains after the Classical albedo feature in which it is located, not for people. In May 2012 the IAU thus named the mountain Aeolis Mons, and gave the name Aeolis Palus to the crater floor plain between the northern wall of Gale and the northern foothills of the mountain. Despite the official name, NASA and the ESA continue to refer to the mountain as "Mount Sharp" in press conferences and press releases
Aeolis is the ancient name of the Izmir region in western Turkey.

The NASA mission 
On August 6, 2012, Curiosity (the Mars Science Laboratory rover) landed in "Yellowknife" Quad of Aeolis Palus, next to the mountain. NASA named the landing site Bradbury Landing on August 22, 2012. Aeolis Mons is a primary goal for scientific study.
 On June 5, 2013, NASA announced that Curiosity would begin a 8 km (5.0 mi) journey from the Glenelg area to the base of Aeolis Mons.
On November 13, 2013, NASA announced that an entryway Curiosity would traverse on its way to Aeolis Mons was to be named "Murray Buttes", in honor of planetary scientist Bruce C. Murray (1931–2013). The trip was expected to take about a year and would include stops along the way to study the local terrain.
On September 11, 2014, NASA announced that the Curiosity rover had reached Aeolis Mons, the rover mission's long-term prime destination.
On October 5, 2015, possible recurrent slope lineae, wet brine flows, were reported on Mount Sharp near Curiosity.

As of January 20, 2017, Curiosity has been on the planet Mars for 1585 sols (1628 days) since landing on August 6, 2012. 

Sources: 

- NASA Curiosity Mission page 

- Wikipedia

MOUNT KENYA PAINTED BY PILLY TURNER

PILLY TURNER (active 1955-1970) 

Mount Kenya (5,199 m -17,057 ft) 

Kenya

Two paintings of Mount Kenya in 1963

The mountain 
Mount Kenya  (5,199 m -17,057 ft)  is the highest mountain in Kenya and the second-highest in Africa, after Kilimanjaro.   The origin of the name Kenya is not clear, but perhaps linked to the Kikuyu, Embu and Kamba words Kirinyaga, Kirenyaa and Kiinyaa which mean "God's resting place" in all three languages.  Mount Kenya is located in central Kenya, about 16.5 kilometres (10.3 mi) south of the equator, around 150 kilometres (93 mi) north-northeast of the capital Nairobi.
Mount Kenya is the source of the name of the Republic of Kenya.
Mount Kenya is a stratovolcano created approximately 3 million years after the opening of the East African rift.   Before glaciation, it was 7,000 m (23,000 ft) high. It was covered by an ice cap for thousands of years. This has resulted in very eroded slopes and numerous valleys radiating from the centre.  There are currently 11 small glaciers and 8 peaks of which the highest are : Batian (5,199 m -  (17,057 ft), Nelion (5,188 m - 17,021 ft)) and Point Lenana (4,985 m - 16,355 ft).   The forested slopes are an important source of water for much of Kenya.
There are several vegetation bands from the base to the summit. The lower slopes are covered by different types of forest. Many alpine species are endemic to Mount Kenya, such as the giant lobelias and senecios and a local subspecies of rock hyrax. An area of 715 km2 (276 sq mi) around the centre of the mountain was designated a National Park and listed as a UNESCO World Heritage Site in 1997.  The park receives over 16,000 visitors per year.
The main ethnic groups living around Mount Kenya are Kikuyu, Ameru, Embu and Maasai.
The first three are closely related. They all see the mountain as an important aspect of their cultures.  The most famous Maasai  are semi-nomadic people, who use the land to the north of the mountain to graze their cattle. They believe that their ancestors came down from the mountain at the beginning of time.  The Maasai name for Mount Kenya is Ol Donyo Keri, which means 'mountain of stripes', referring to the dark shades as observed from the surrounding plains.  At least one Maasai prayer refers to Mount Kenya: " God bless our children, let them be like the olive tree of Morintat, let them grow and expand, let them be like Ngong Hills like Mt. Kenya, like Mt. Kilimanjaro and multiply in number. "
All these cultures arrived in the Mount Kenya area in the last several hundred years.
Climbing routes 
Most of the peaks on Mount Kenya have been summited. The majority of these involve rock climbing as the easiest route, although some only require a scramble or a walk. The highest peak that can be ascended without climbing is Point Lenana (4,985 m -16,355 ft).  The majority of the 15,000 visitors to the national park each year climb this peak.  In contrast, approximately 200 people summit Nelion and 50 summit Batian, the two highest peaks.
Mount Kenya's climbing seasons are a result of its location only 20 km (12 mi) from the equator. During the northern summer the rock routes on the north side of the peak are in good summer condition, while at the same time the ice routes on the south side of the peak are prime shape. The situation is reversed during the southern summer. The two seasons are separated by several months of rainy season before and after, during which climbing conditions are generally unfavorable.
Mount Kenya is home to several good ice routes, the two most famous being the Diamond Couloir and the Ice Window route. Snow and ice levels on the mountain have been retreating at an accelerated rate in recent years, making these climbs increasingly difficult and dangerous.
The satellite peaks around the mountain also provide good climbs. These can be climbed in Alpine style and vary in difficulty from a scramble to climbing at UIAA grade VI.

The artist
Pilly Turner is a kenyan watercolourist, active during the 1955-1970 's. The watercolor she painted are always very realistic, and  with exemples of wild life animals and animals of the country. There are no other information available about this artist and only a few amount of paintings on the art market  (more than 10).

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2017 - Wandering Vertexes...
by Francis Rousseau