SERRA DE ORGAOS BY AGOSTINHO JOSE DA MOTA

AGOSTINHO JOSE DA MOTA (1824-1878)

Serra dos Orgaos: 

Pedra do Sino (2,263m- 7,425 ft)

Dedo de Deus (1,682m - 5,551ft) 

Escalavrado  (1,490m -4,890 ft) 

Brazil

 In Palácio Imperial de Petrópolis, 1855, oil on canvas, Pinacoteca si Estado de Sao Paulo

The mountains 

Pedra do Sino (Bell Rock) at 2,263 metres (7,425 ft),  Dedo de Deus (God's finger) at 1,682m (5,551ft) and  Escalavrado at 1,692 m (5,551 ft) are the highest  peaks int the Serra dos Órgãos  (Organ Range), a mountain range located in the state of Rio de Janeiro, Brazil and containing the Serra dos Órgãos National Park. The peaks with steep rock walls are dramatic features that can be seen on a clear day from Rio de Janeiro, which is 50 kilometres (31 mi) distant. The Serra dos Órgãos cover san area of 20,024 hectares (49,480 acres). The range is an escarpment on the northern edge of the Guanabara Graben between the cities of Petropolis and Teresopolis. The name comes from perceived resemblance of the vertical rock formations created by erosion to the tubes of organs.

A north west fracture is exposed at the plateau's rock surfaces, which defines the direction of the ridges and valleys along the escarpment. One of these ridges contains several granite peaks including God's Finger. Formation of the rocks may have occurred around 620 million years ago. North east vertical fractures, spaced regularly about every 500 m (1,600 ft), cut the north west structures at right angles. Erosion along these fractures has isolated the massive rock blocks. The valleys have well-preserved deposits of debris that has fallen from the rock walls. In November 1981 a period of intense rain triggered hundreds of shallow landslides and flows of debris that blocked the BR-116 highway and killed about 20 people.

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. 

RONGORI PAINTED BY AKSELI GALLEN-KALLELA

AKSELI GALLEN-KALLELA  (1865-1931)

Rongori (1,176m - 3,858ft)

Kenya

The mountain 

Rongori  (1,176m - 3,858ft)  is a mountain  in Kenya, considered like a " hill ",  located in the county of Embu, in the central part of the country, 90 km northeast of the capital Nairobi.  The terrain around Rongori is mainly flat. Rongori is located on an altitude that goes north-south.  The highest point nearby is Twoinoini 1, 314 m- 4,311ft above sea level, 3.0 km north of Rongori. Around Rongori, it is quite densely populated, with 96 inhabitants per square kilometer.  The area around Rongori consists mainly of grasslands. 

Savann climate prevails in the area.  The annual average temperature  is 25 ° C.

The painter 
Akseli Gallen-Kallela was a Swedish-speaking Finnish painter who is best known for his illustrations of the Kalevala, the Finnish national epic. His work was considered very important for the Finnish national identity. He changed his name from Gallen to Gallen-Kallela in 1907. In 1884 he moved to Paris, to study at the Académie Julian and became friends with the Finnish painter Albert Edelfelt, the Norwegian painter Adam Dörnberger, and the Swedish writer August Strindberg.
In December 1894, Gallen-Kallela moved to Berlin to oversee the joint exhibition of his works with the works of Norwegian painter Edvard Munch. Here he became acquainted with the Symbolists.
On his return from Germany, Gallen studied print-making and visited London to deepen his knowledge, and in 1898 studied fresco-painting in Italy.
For the Paris World Fair in 1900, Gallen-Kallela painted frescoes for the Finnish Pavilion. In these frescoes, his political ideas became most apparent.Gallen-Kallela officially finnicized his name to the more Finnish-sounding Akseli Gallen-Kallela in 1907.
In 1909, Gallen-Kallela moved to Nairobi in Kenya with his family, and there he painted over 150 expressionist oil paintings and bought many east African artefacts. But he returned to Finland after a couple of years, because he realized Finland was his main inspiration. Between 1911 and 1913 he designed and built a studio and house at Tarvaspää, about 10 km northwest of the centre of Helsinki.
From December 1923 to May 1926, Gallen-Kallela lived in the United States, where an exhibition of his work toured several cities, and where he visited the Taos art-colony in New Mexico to study indigenous American art. In 1925 he began the illustrations for his "Great Kalevala". This was still unfinished when he died of pneumonia in Stockholm on 7 March 1931, while returning from a lecture in Copenhagen, Denmark
His studio and house at Tarvaspää was opened as the Gallen-Kallela Museum in 1961

THE SAINTE VICTOIRE BY FRANÇOIS-MARIUS GRANET

FRANÇOIS-MARIUS GRANET (1775-1849)
Montagne Sainte Victoire (1, 011m - 2, 216 ft)

France (Provence Alpes Côte d'azur) 

1. In Sainte-Victoire vue du Mas de Malvallat, watercoulour on paper,  Musée Granet 

2.   In La Ste Victoire vue d'une cour de ferme, watercolour on paper, Musée Granet 

The mountain

Mont Sainte-Victoire (1,011 m-3,316ft)  also called Mont Venturi is a limestone massif in the South of France, in the region Provence-Alpes-Côte d'Azur. Located east of Aix-en-Provence, it has experienced international fame, due to the more than 80 works  Paul Cézanne did  on it. It hosts many hikers, climbers and nature lovers, and is a major element of Aix landscape.

The range of the Sainte-Victoire is 18 kilometers long and 5 kilometers from large, following a strict east-west orientation. It is located on the Bouches-du-Rhône and Var, and in the towns of Puyloubier, Saint-Antonin-sur-Bayon, Rousset, Châteauneuf-le-Rouge, Beaurecueil, Le Tholonet Vauvenargues, Saint-Marc-Jaumegarde, Pourrières, Artigues and Rians.

D 10 and D 17 (Route Cézanne) are the main roads to skirt the mountains. On the northern side, the D10 crosses the Col de Claps (530 m) and the Col des Portes (631 m). On the southern side, the D 17 walks on the Plateau de Cengle and crossed the Collet blanc de Subéroque (505 m).

The southern side is characterized by the presence of significant high limestone cliffs 500 to 700 m with the white appearance added to the sun gives the appearance of a high muraille. At the foot of the cliffs, there is more massive brush, oak, kermes oak, Aleppo pine (population greatly reduced after the fire of 1989) but also cultures (olive trees).

On the northern side among the many species present, the Crocus is fairly well represented in the hills and the wild iris and daffodil. One can also see various varieties and boxwood shrubs.

The massif rises to the Pic des Mouches (Peak of the Flies) (1011 m) near the eastern end of the chain, and not at the Croix de Provence (946 m) near the west end and visible from Aix. The Pic des Mouches is one of the highest peaks of the department of Bouches-du-Rhône, behind the peak Bertagne which reached an altitude of 1042 mètres and which is located on the massif of Sainte-Baume.

Sainte-Victoire, as the range of the Sainte Baume, can be considered a special case among the Alpine ranges for the various stages of the formation of its relief associated geological history as well as that of the old Pyrenean-Provençal chain than that of the Western Alps (which have succeeded it).

Indeed,  from the former Sainte-Victoire mountain, contemporary of the dinosaurs of the Cretaceous, it remains today  only the fold Bimont, said Chaînon des Costes Chaudes, the last vestige resulting from tectonic movements and characteristics of the stacks of  Pyreneo-Provençal phase during the Eocene. Later during the Oligocene, breaking  of the anticlinal fold of Sainte-Victoire, which resulted from the uplift of the first great Alpine reliefs, is causing a surge that help explain the current form of the mountain, which appeared 15 million years BCE.

Sainte-Victoire, whose calcareous sediments date back to the Jurassic, thus consists of both a Pyrenean-Provencal vestige and of an alpine geology. This singularity and this ambivalence help explain why, although a massive western Alps, the problem of this connection remains complexe.

According to a recent study, the Sainte-Victoire is still growing ! The company ME2i  has indeed conducted a satellite survey between 1993 and 2003 providing evidence that during this period the western end of the Sainte-Victoire was uplift of 7 mm per year.

The massif is a ensemble of 6525 ha classified since 1983.

The massive hosts several world-famous dinosaur eggs deposits including the Roques-Hautes / Les Grands-Creux on the town Beaurecueil.

The painter 

François Marius Granet was a french painter born  in Aix-en-Provence. 

 In 1793, Granet followed the volunteers of Aix to the siege of Toulon, where he obtained employment as a decorator in the arsenal. Whilst a lad he had, at Aix, made the acquaintance of the young comte de Forbin, and upon his invitation, Granet in the year 1797 went to Paris. Forbin was one of the pupils of David, and Granet entered the same studio. Later he got possession of a cell in the convent of Capuchins, which, having served for a manufactory of assignats during the Revolution, was afterwards inhabited almost exclusively by artists. 

In 1802, he left Paris for Rome, where he remained until 1819, when he returned to Paris, bringing with him besides various other works one of fourteen repetitions of his celebrated "Chœur des Capucins" executed in 1811. The figures of the monks celebrating mass are taken in this subject as a substantive part of the architectural effect, and this is the case with all Granet's works, even with those in which the figure subject would seem to assert its importance, and its historical or romantic interest. Stella painting a Madonna on his Prison Wall, 1810 (Leuchtenberg collection); Sodoma à l'hôpital, 1815 (Louvre); Basilique basse de St François d'Assise, 1823 (Louvre); Rachat de prisonniers, 1831 (Louvre); Mort de Poussin, 1834 (Villa Demidoff, Florence), are among his principal works; all are marked by the same peculiarities, everything is sacrificed to tone.

In 1819, Louis Philippe decorated Granet, and afterwards named him Chevalier de l'Ordre St Michel, and Conservateur des tableaux de Versailles (1826). He became a member of the institute in 1830; but in spite of these honours, and the ties which bound him to M. de Forbin, then director of the Louvre, Granet constantly returned to Rome. After 1848, he retired to Aix  immediately lost his wife, and died himself on 21 November 1849. 

He bequeathed the greater part of his fortune to his native town and all his collections (including the very fine portrait by Ingres from 1811 ) to the Museum of Aix en Provence, which was renamed the Musée Granet in 1949, the centenary of his death.

THE ROSENBERG / RUZAK PAINTED BY CASPAR DAVID FRIEDRICH

CASPAR DAVID FRIEDRICH  (1774-1840)

The Rosenberg / Růžák (619 m  - 2,031 ft)

Czech  Republic

In Landscape with the Rosenberg in Bohemian Switzerland, watercolour on paper.

The mountain 

The Rosenberg  (619m  - 2,031 ft)  also Růžák or Růžovský vrch, is the dominant mountain in the Bohemian Switzerland east of the River Elbe in the Czech Republic. Its almost circular cone shape makes it one of the most typical representatives of the mountains of North Bohemia. The upper part of the mountain is made of basalt, whilst at its foot sandstone is also found. The flanks of the mountain are covered by an almost virgin deciduous forest, in which mighty beech and sycamore are especially impressive. Since 1973 the mountain has been protected as a national nature reserve and, since 2000, it has lain within the core zone of the Bohemian Switzerland National Park.

The painter 

Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".

Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".

Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip B. Miller, "half mad". As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterized its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect.  It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.

Friedrich was a prolific artist who produced more than 500 attributed works. In line with the Romantic ideals of his time, he intended his paintings to function as pure aesthetic statements, so he was cautious that the titles given to his work were not overly descriptive or evocative. It is likely that some of today's more literal titles, such as The Stages of Life, were not given by the artist himself, but were instead adopted during one of the revivals of interest in Friedrich. Complications arise when dating Friedrich's work, in part because he often did not directly name or date his canvases. He kept a carefully detailed notebook on his output, however, which has been used by scholars to tie paintings to their completion dates.

MT WASHINGTON BY SANFORD ROBINSON GIFFORD

SANFORD ROBINSON GIFFORD (1823-1880)

Mount Washington (1, 916m - 6, 286ft)

United States of America  (New Hampshire) 

1.  In Mount Washington from the Saco River'  oil on canvas High Museum.

2.  In Mount Washington from the Saco River, a sketch, c. 1858, oil on paper mounted into board, Chazen Museum of Art

The mountain 

Mount Washington (1, 916m - 6, 286ft) is the highest point in the northeastern United States. It is located in the White Mountains in the county of Coos. Most of the mountain is located in the White Mountain National Forest and Mount Washington State Park.
The mountain is called Agiocochook, the "abode of the great spirit," by the Amerindians. A scientific expedition led by geologist Dr. Cutler named Mount Washington in 1784.
While the western slope, which climbs the Cog Railway, is regular from its base, the other slopes are more complex. To the north, Great Gulf, the largest glacial circus in the mountains, is surrounded by the Northern Presidentials, namely Clay, Jefferson, Adams and Madison Mountains. These peaks reach far beyond the alpine zone beyond the tree line. The imposing Chandler Ridge extends northeast from the top of Mount Washington to form the southern wall of the amphitheater. It is paced by a motorway to the summit.
The first European to mention the mountain is Giovanni da Verrazzano in 1524, who sees it from the Atlantic Ocean and describes it as a "high mountain of the interior". Irishman Darby Field says he made his first ascent in 1642.
The Crawford Path, the oldest hiking trail in the United States, was established in 1819 as a mule track from the Crawford Notch Gorge to the summit and has been in use since that time. Ethan Allen Crawford built a lodge at the summit in 1821 that resisted a storm five years later.  In the middle of the nineteenth century, the mountain became a major tourist destination of the country, with the construction of new trails and two hotels. The Summit House, a 20-meter-long stone building with a roof attached to four heavy chains, was opened in 1852. The following year, the Tip-Top House was erected to compete with it. Rebuilt in wood with 91 rooms in 1872-1873, the Summit House burned in 1908 and was replaced by a granite building in 1915. Only the Tip-Top House resists fire; it is now classified in the National Register of Historic Places and has recently been renovated to house exhibitions. Among the attractions of the Victorian era is also a coach road built in 1861, now the Mount Washington Auto Road, and the Mount Washington Cog Railway, a cog railway established in 1869, in service.
Forty years, an aperiodic journal called Among The Clouds, is published by Henry M. Burt at the summit every summer until 1917. The prints are distributed by rail and then to hotels and other outlets around.
In November 2010, Mount Washington became a trademark and actions were taken by the custodians to restrict their legal use.
Mount Washington offers endless opportunities for hiking, climbing and skiing at all levels of difficulty. It is one of the most frequented mountains in America (250,000 people go to the summit every year).

The painter 

Sanford Robinson Gifford was born in Greenfield, New York and spent his childhood in Hudson, New York, the son of an iron foundry owner. He attended Brown University 1842-44, before leaving to study art in New York City in 1845. He studied drawing, perspective and anatomy under the direction of the British watercolorist and drawing-master, John Rubens Smith.  He also studied the human figure in anatomy classes at the Crosby Street Medical college and took drawing classes at the National Academy of Design.  By 1847 he was sufficiently skilled at painting to exhibit his first landscape at the National Academy and was elected an associate in 1851, an academician in 1854. Thereafter Gifford devoted himself to landscape painting, becoming one of the finest artists of the early Hudson River School.

Like most Hudson River School artists, Gifford traveled extensively to find scenic landscapes to sketch and paint. In addition to exploring New England, upstate New York and New Jersey, Gifford made extensive trips abroad. He first traveled to Europe from 1855 to 1857, to study European art and sketch subjects for future paintings. During this trip Gifford also met Albert Bierstadt and Worthington Whittredge.

In 1858, he traveled to Vermont, "apparently" with his friend and fellow painter Jerome Thompson. Details of their visit were carried in the contemporary Home Journal. Both artists submitted paintings of Mount Mansfield, Vermont's tallest peak, to the National Academy of Design's annual show in 1859. Thompson's work, "Belated Party on Mansfield Mountain" is now owned by the MET in New York, according to the report.

Thereafter, he served in the Union Army as a corporal in the 7th Regiment of the New York Militia upon the outbreak of the Civil War. A few of his canvases belonging to New York City's Seventh Regiment and the Union League Club of New York are testament to that troubled time.

During the summer of 1867, Gifford spent most of his time painting on the New Jersey coast, specifically at Sandy Hook and Long Branch, according to an auction Web site.

Another journey, this time with Jervis McEntee and his wife, took him across Europe in 1868. Leaving the McEntees behind, Gifford traveled to the Middle East, including Egypt in 1869. Then in the summer of 1870 Gifford ventured to the Rocky Mountains in the western United States, this time with Worthington Whittredge and John Frederick Kensett. At least part of the 1870 travels were as part of a Hayden Expedition, led by Ferdinand Vandeveer Hayden.

Returning to his studio in New York City, Gifford painted numerous major landscapes from scenes he recorded on his travels. Gifford's method of creating a work of art was similar to other Hudson River School artists. He would first sketch rough, small works in oil paint from his sketchbook pencil drawings. Those scenes he most favored he then developed into small, finished paintings, then into larger, finished paintings.

Gifford referred to the best of his landscapes as his "chief pictures". Many of his chief pictures are characterized by a hazy atmosphere with soft, suffuse sunlight. Gifford often painted a large body of water in the foreground or middle distance (see above) in which the distant landscape would be gently reflected. Examples of Gifford's "chief pictures" in museum collections today include: Lake Nemi (1856–57), Toledo Museum of Art, Toledo, Ohio ; The Wilderness (1861), Toledo Museum of Art, Toledo, Ohio ;  A Passing Storm (1866), Wadsworth Atheneum, Hartford, Connecticut ;  Ruins of the Parthenon (1880), Corcoran Gallery of Art, Washington, D.C.

On August 29, 1880, Gifford died in New York City, having been diagnosed with malarial fever. The MET in New York City celebrated his life that autumn with a memorial exhibition of 160 paintings. A catalog of his work published shortly after his death recorded in excess of 700 paintings during his career.

MOUNT SAN CRISTOBAL BY FERNANDO AMORSOLO

FERNANDO AMORSOLO (1892-1972)

Mount San Cristobal (1,470 m - 4,820 ft)

 Philippines (Luzon)

 In Planting rice - Mt San Cristobal in the background, Oil on canvas, 

The Fernando Amorsolo foundation 

The mountain
Mount San Cristobal (1,470 m - 4,820 ft) is a dormant volcano in Quezon province on the island of Luzon, Philippines. The mountain  is one of the volcanic features of Macolod Corridor.
Mount San Cristobal is considered the Devil's mountain in Filipino folklore. It is the alter-ego of the Holy Mountain, Mount Banahaw, and is part of Mounts Banahaw–San Cristobal Protected Landscape covering 10,901 hectares (26,940 acres) of land.
The mountain is bounded by San Pablo, province of Laguna at its northern slope and Dolores, province of Quezon at its southern slope.

The painter 
Fernando Cueto Amorsolo was one of the most important artists in the history of painting in the Philippines.Amorsolo was a portraitist and painter of rural Philippine landscapes. He is popularly known for his craftsmanship and mastery in the use of light. After graduating from the Univeajor influences on his work. Amorsolo set up his own studio upon his return to Manila and painted prodigiously during the 1920s and the 1930s. His Rice Planting (1922), which appeared on posters and tourist brochures, became one of the most popular images of the Commonwealth of the Philippines. Beginning in the 1930s, Amorsolo's work was exhibited widely both in the Philippines and abroad. His bright,optimistic, pastoral images set the tone for Philippine painting before World War II . Except for his darker World War II-era paintings, Amorsolo painted quiet and peaceful scenes throughout his career.
Amorsolo was sought after by influential Filipinos including Luis Araneta, Antonio Araneta and Jorge B. Vargas. Amorsolo also became the favourite Philippine artist of United States officials and visitors to the country. Due to his popularity, Amorsolo had to resort to photographing his works and pasted and mounted them in an album. Prospective patrons could then choose from this catalog of his works. Amorsolo did not create exact replicas of his trademark themes; he recreated the paintings by varying some elements.
His works later appeared on the cover and pages of children textbooks, in novels, in commercial designs, in cartoons and illustrations for the Philippine publications such The Independent, Philippine Magazine, Telembang, El Renacimiento Filipino, and Excelsior. He was the director of the University of the Philippine's College of Fine Arts from 1938 to 1952.
During the 1950s until his death in 1972, Amorsolo averaged to finishing 10 paintings a month. However, during his later years, diabetes, cataracts, arthritis, headaches, dizziness and the death of two sons affected the execution of his works. Amorsolo underwent a cataract operation when he was 70 years old, a surgery that did not impede him from drawing and painting.
After being confined at the St. Luke's Hospital in Quezon City for two months, Amorsolo died  at the age of 79 on April 24, 1972. The volume of paintings, sketches and studies of Amorsolo is believed to have reached more than 10,000 pieces. Amorsolo was an important influence on contemporary Filipino art and artists, even beyond the so-called "Amorsolo school." Amorsolo's influence can be seen in many landscape paintings by Filipino artists, including early landscape paintings by abstract painter Federico Aguilar Alcuaz.
In 2003, Amorsolo's children founded the Fernando C. Amorsolo Art Foundation, which is dedicated to preserving Fernando Amorsolo's legacy, promoting his style and vision, and preserving a national heritage through the conservation and promotion of his works.

2017 - Wandering Vertexes...
by Francis Rousseau 

HEKLA PAINTED BY ÞORANINN B. ÞORLAKSSON

ÞORANINN B. ÞORLAKSSON (1867-1924)

Hekla (1,488m - 4,882ft) 

Iceland

  In Hekla ur Laugardal, 1922, oil on canvas 

The mountain

Hekla or Hecla (1,488m - 4,882ft) is a stratovolcano in the south of Iceland. Hekla is one of Iceland's most active volcanoes; over 20 eruptions have occurred in and around the volcano since 874. During the Middle Ages, Europeans called the volcano the "Gateway to Hell".
Hekla is part of a volcanic ridge, 40 km (25 mi) long. The most active part of this ridge, a fissure about 5.5 km (3.4 mi) long named Heklugjá, is considered to be within Hekla proper.  Hekla looks rather like an overturned boat, with its keel being a series of craters, two of which are generally the most active.
The volcano's frequent large eruptions have covered much of Iceland with tephra, and these layers can be used to date eruptions of Iceland's other volcanoes. Approximately 10% of the tephra created in Iceland in the last thousand years has come from Hekla, amounting to 5 km3. Cumulatively, the volcano has produced one of the largest volumes of lava of any in the world in the last millennium, around 8 km3.
The earliest recorded eruption of Hekla took place in 1104. Since then there have been between twenty and thirty considerable eruptions, with the mountain sometimes remaining active for periods of six years with little pause. Eruptions in Hekla are varied and difficult to predict. Some are very short (a week to ten days) whereas others can stretch into months and years (the 1947 eruption started 29 March 1947 and ended April 1948). But there is a general correlation: the longer Hekla goes dormant, the larger and more catastrophic its opening eruption will be.
The most recent eruption was on 26 February 2000.
Hekla is a popular destination for hiking. Following the most recent eruption the path goes most of the way to the summit;  the walk takes 3 to 4 hours.  In spring, skiing is possible on short routes around the rim of the crater. In summer, there are easy (F) mountaineering routes also around the crater rim,  and it is possible to snowcat to the top in winter. The volcano can be reached using the buses to Landmannalaugar 30 km further east, and it is possible to stay or camp at farms in the area. A visitor centre, The Hekla Center at Leirubakki Farm, opened in 2007.

The Painter 

Þóуrarinn Benedikt Þorlбksson  was one of Iceland's first contemporary painters, the first Icelander to exhibit paintings in Iceland, and recipient of the first public grant that country made to a painter.

He was born in 1867, the 13th of 14 children of a clergyman father, who died when he was just five years old. Originally trained and working as a bookbinder, Þorlбksson studied painting under a Copenhagen-trained Icelandic woman, Thуra Thoroddsen. In 1900 he was awarded a grant by the Icelandic Parliament to study art in Denmark, and he trained there from 1895 to 1899. Returning to Iceland, he held an exhibition of his works at a place perplexingly called Glasgow, in Reykjavik, in the summer of 1900—the first exhibition of Icelandic painting in Iceland. Þorlбksson's principal interest was landscape painting, and perhaps fittingly a dominant subject in this first exhibition of works was Þingvellir, a site of enormous historical significance to Icelanders as the site of their parliaments (which dated back to 930 AD).

Þóуrarinn Þorlбksson continued to paint, holding regular exhibitions until 1911. However, he required a regular income that could not be derived solely from his art. On December 30, 1913, he was appointed by Prime Minister Hannes Hafstein as one of the five people on the committee that designed the Flag of Iceland.  He taught drawing at the Technical College and other institutions in Reykjavik, and was principal of that college from 1916 to 1922. He also ran a shop selling art materials, journals and books until his death. Throughout his life he continued to paint, particularly in the countryside during the summers.

Þorlбksson, together with a small number of other artists including his contemporary Asgrimur Jonsson, confronted and portrayed the landscape of their country on its terms and through Icelandic eyes, rather than through the conventions—and the light—of Western European artistic tradition. In this respect the work of Þorlбksson and Jonsson played a role similar to that of the Heidelberg School in Australia (slightly earlier) and the Group of Seven, Emily Carr and Tom Thomson in Canada (a little later).

2017 - Wandering Vertexes...
by Francis Rousseau 

MAYON VOLCANO IN VINTAGE BANK NOTES

VINTAGE BANK NOTE 2010 

Mayon volcano (2, 463m - 8, 061 ft)

Philippines (Luzon)

1. In Mount Mayon, PHP100 Banknote, Reverse. Volcano. Manuela Roxas. 

Signatures: Aquino III & Tetangco, 2010

The mountain
Mayon volcano (2,463 m- 8,061 ft) also called Bulkan Mayon or Bulkang Mayon or Mount Mayon or Mayon is an active stratovolcano in the province of Albay in Bicol Region, on the island of Luzon in the Philippines. Renowned as the "perfect cone" because of its symmetric conical shape, the volcano and its surrounding landscape was declared a national park on July 20, 1938, the first in the nation. It was reclassified a Natural Park and renamed Mayon Volcano Natural Park in the year 2000. Local folklore refers to the volcano being named after the legendary princess-heroine Daragang Magayon (Beautiful Lady).
Mayon volcano is the most active volcano in the Philippines, erupting over 49 times in the past 400 years.
-  In February 1616 , the first record of a major eruption was witnessed  by Dutch explorer Joris van Spilbergen who recorded it on his log in his circumnavigation trip around the world.
- July 20, 1766.: the first eruption for which an extended account exists was the six-day event.
- February 1, 1814 (VEI=4).  The most destructive eruption of Mayon; Lava flowed but less than the 1766 eruption. The volcano belched dark ash and eventually bombarded the town of Cagsawa with tephra that buried it. (see photo 2 above)
- From July 6, 1881 until approximately August 1882, Mayon underwent a strong (VEI=3) eruption. Samuel Kneeland, a naturalist, professor and geologist, personally observed the volcanic activity on Christmas Day, 1881, about five months after the start of the activity:
« At the date of my visit, the volcano had poured out, for five months continuously, a stream of lava on the Legaspi side from the very summit. The viscid mass bubbled quietly but grandly, and overran the border of the crater, descending several hundred feet in a glowing wave, like red-hot iron. »
- Mayon's longest uninterrupted eruption occurred on June 23, 1897 (VEI=4), which lasted for seven days of raining fire. Lava once again flowed down to civilization. Eleven kilometers (7 miles) eastward, the village of Bacacay was buried 15 m (49 ft) beneath the lava. In Libon 100 people were killed by steam and falling debris or hot rocks.
- No casualties were recorded from the 1984 eruption after more than 73,000 people were evacuated from the danger zones as recommended by PHIVOLCS scientists.[12] But in 1993, pyroclastic flows killed 75 people, mainly farmers, during the eruption.
- Mayon's 48th modern-era eruption was on July 13, 2006, followed by quiet effusion of lava that started on July 14, 2006. Nearly 40,000 people were evacuated from the 8-kilometre (5.0 mi) danger zone on the southeast flank of the volcano.
- On August 10, 2008, a small summit explosion ejected ash 200 metres (660 ft) above the summit, which drifted east-northeast. In the weeks prior to the eruption, a visible glow increased within the crater and increased seismicity.
- 2009–2010 eruption several explosion and eruption from July 10, 2009 to January 13, 2010.
- On May 7, 2013, at 8 a.m. (PST), the volcano produced a surprise phreatic eruption lasting 73 seconds. Ash, steam and rock were produced during this eruption. Ash clouds reached 500 meters above the volcano's summit and drifted west southwest. The event killed five climbers, of whom three were German, one was a Spaniard living in Germany, and one was a Filipino tour guide. Seven others were reported injured. The bodies of the hikers were soon located by the authorities.
- On August 12, 2014, a new 30m-50m high lava dome appeared in the summit crater. This event was preceded by inflations of the volcano (measured by precise leveling, tilt data, and GPS), and increases in sulphur dioxide gas emissions.

IRNINI MONS BY NASA MAGELLAN MISSION

NASA MAGELLAN MISSION (1989-1994)

Irnini Mons (1,750 m -  5,741ft) 

Venus 

The mountain 

Irnini Mons (1,750 m -  5,741ft) is a volcanic structure on the planet Venus, and is named after the Assyro-Babylonian goddess of cedar-tree mountains.  It has a diameter of 475 km (295 mi) and is located in Venus' northern hemisphere. More specifically, it is located in the central Eistla Regio region at (14°0′N 16°0′E) in the V-20 quadrangle. Sappho Patera, a 225 km (140 mi) diameter wide, caldera-like, depression tops the summit of Irnini Mons.  The primary structural features surrounding Irnini Mons are graben, seen as linear depressed sections of rock, radiating from the central magma chamber. Also, concentric, circular ridges and graben outline the Sappho Patera depression at the summit. The volcano is crossed by various rift zones, including the north-south trending Badb Linea rift, the Guor Linea rift extending to the northwest, and the Virtus Linea rift continuing to the southeast.

The combination of volcanic-tectonic structures around Irnini Mons supports varying intensities of deformation and a multi-directional stress history. Although classified as a shield volcano, Irnini Mons contains many elements of the Venusian coronae, bringing speculation to its formation. If Irnini Mons was originally a corona, a shallow oval-shaped depression, it would support a thin lithosphere on Venus. On the other hand, it being a shield volcano supports the theory of a thicker lithosphere and Irnini Mons' stress history could be summarized simply as a transition from predominantly compressive forces to extensional relaxation, resulting in the observed radiating graben and concentric ridges.

Irnini Mons is a significant structural feature on Venus because the preservation of the geology allows for the analysis of Venus' regional stress orientation in response to a pressurized magma chamber over time.

The mission
Magellan was launched on May 4, 1989, at 18:46:59 UTC by the National Aeronautics and Space Administration from KSC Launch Complex 39B at the Kennedy Space Center in Florida, aboard Space Shuttle Atlantis during mission STS-30. Once in orbit, the Magellan and its attached Inertial Upper Stage booster were deployed from Atlantis and launched on May 5, 1989 01:06:00 UTC, sending the spacecraft into a Type IV heliocentric orbit where it would circle the Sun 1.5 times, before reaching Venus 15 months later on August 10, 1990.
Originally, the Magellan had been scheduled for launch in 1988 with a trajectory lasting six months. However, due to the Space Shuttle Challenger disaster in 1986, several missions, including Galileo and Magellan, were deferred until shuttle flights resumed in September 1988. Magellan was planned to be launched with a liquid-fueled, Centaur-G upper-stage booster, carried in the cargo bay of the Space Shuttle. However, the entire Centaur-G program was canceled after the Challenger disaster, and the Magellan probe had to be modified to be attached to the less-powerful Inertial Upper Stage. The next best opportunity for launching occurred in October 1989.
Further complicating the launch however, was the launching of the Galileo mission to Jupiter, one that included a fly-by of Venus. Intended for launch in 1986, the pressures to ensure a launch for Galileo in 1989, mixed with a short launch-window necessitating a mid-October launch, resulted in replanning the Magellan mission. Weary of rapid shuttle launches, the decision was made to launch Magellan in May, and into an orbit that would require one year, three months, before encountering Venus.
On August 7, 1990, Magellan encountered Venus and began the orbital insertion maneuver which placed the spacecraft into a three-hour, nine minute, elliptical orbit that brought the spacecraft 295-kilometers from the surface at about 10 degrees North during the periapsis and out to 7762-kilometers during apoapsis
On September 9, 1994, a press release outlined the termination of the Magellan mission. Due to the degradation of the power output from the solar arrays and onboard components, and having completed all objectives successfully, the mission was to end in mid-October. The termination sequence began in late August 1994, with a series of orbital trim maneuvers which lowered the spacecraft into the outermost layers of the Venusian atmosphere to allow the Windmill experiment to begin on September 6, 1994. 

KANGCHENJUNGA BY CONRAD H. R. CARELLI

CONRAD H. R. CARELLI (1869 -1956)

Kangchenjunga (8, 538m - 28,169 ft) 

India, Népal


In Kangchenjunga seen from Calcutta, watercolour on paper, 1908 




The mountain 

Kangchenjunga  (8,586 m (28,169 ft) is the  third highest mountain in the world. It  lies partly in Nepal and partly in Sikkim, India. Kangchenjunga is the second highest mountain of the Himalayas after Mount Everest. Three of the five peaks – Main, Central and South – are on the border between North Sikkim and Nepal. Two peaks are in the Taplejung District, Nepal.

Kangchenjunga Main is the highest mountain in India, and the easternmost of the mountains higher than 8,000 m (26,000 ft).  Until 1852, Kangchenjunga was assumed to be the highest mountain in the world, but calculations based on various readings and measurements made by the Great Trigonometrical Survey of India in 1849 came to the conclusion that Mount Everest, known as Peak XV at the time, was the highest.  It is listed int the  Eight Thousanders and as Seven Third Summits

Kangchenjunga is the official spelling adopted by Douglas Freshfield, A. M. Kellas, and the Royal Geographical Society that gives the best indication of the Tibetan pronunciation. Freshfield referred to the spelling used by the Indian Government since the late 19th century. There are a number of alternative spellings including Kangchendzцnga, Khangchendzonga, and Kanchenjunga.  Local Lhopo people believe that the treasures are hidden but reveal to the devout when the world is in peril; the treasures comprise salt, gold, turquoise and precious stones, sacred scriptures, invincible armor or ammunition, grain and medicine. Kangchenjunga's name in the Limbu language is Senjelungma or Seseylungma, and is believed to be an abode of the omnipotent goddess Yuma Sammang.

It rises in a section of the Himalayas called Kangchenjunga Himal that is limited in the west by the Tamur River, in the north by the Lhonak Chu and Jongsang La, and in the east by the Teesta River. It lies about 128 km (80 mi) east of Mount Everest.

Allowing for further verification of all calculations, it was officially announced in 1856 that

Kangchenjunga was first climbed on 25 May 1955 by Joe Brown and George Band, who were part of a British expedition. They stopped short of the summit as per the promise given to the Chogyal that the top of the mountain would remain inviolate. Every climber or climbing group that has reached the summit has followed this tradition. Other members of this expedition included John Angelo Jackson and Tom Mackinon.  In May 1979,  Doug Scott, Peter Boardman and Joe Tasker established a new route on the North Ridge their third ascent which was the first one ever made without oxygen.

In 1983, Pierre Beghin made the first solo ascent accomplished without the use of supplemental oxygen.  In 1992, Wanda Rutkiewicz was  the first woman in the world to ascend and descend K2 and a world-renowned Polish climber, died after she insisted on waiting for an incoming storm to pass, which she did not survive.  In 1998, Ginette Harrison was the first woman who climbed Kangchenjunga North face ;  Gerlinde Kaltenbrunner, an Austrian mountaineer, was the second woman to reach the summit in 2006.

In May 2014, the Bulgarian diabetic climber Boyan Petrov reached the peak without the use of supplemental oxygen.

The painter 

Conrad Hector Raffaele Carelli (1866 - 1956) is an Italian watercolor painter who was active at the end of the nineteenth and the first half of the twentieth century. He traveled to Italy, the Near East and Spain and made many Orientalist watercolors.
The Carelli Family is a very well known italian painters dynasty. Conrad Hector Raffaele Carelli is the son of Gabriele Carelli (1821-1900) and the grand son of Raffaele Carelli (1795-1864), a painter of the School of Posillipo.  As a documentary painter, completing water colors of various sights, Raffaele Carelli  accompanied the 6th Duke of Devonshire in some tours of Sicily, Greece, Asia Minor, and Constantinople.  

MONT SAINT-MICHEL PAINTED BY J.M.W.TURNER

J.M.W. TURNER (1775-1851) 

 Mont Saint-Michel (92 m - 302 ft)

France (Normandie)

1.  In Mont St Michel for The English channel Watercolour, 1827, FAM, San Francisco 

2.  In Mont Saint Michel sketches, Watercolour on paper 1826 Tate Britain, London 

About the paintings

Turner travelled through Normandy and Brittany in 1826  and 1827 at a time when the region was beginning to attract artists interested in the relationship of its architecture to that of England. The focal point of most tours was Mont St Michel, a casket-like architectural gem seemingly floating in the middle of the surrounding bay. Turner's watercolours of the island stress its fantastic, mirage-like qualities at the expense of giving precise details.

The mount  
Le Mont-Saint-Michel (92 m - 302 ft) is an island commune in Normandy, France. Mont Saint-Michel (first called Mont Tombe) consists of leucogranite, which solidified from an underground intrusion of molten magma about 525 million years ago, during the Cambrian period, as one of the younger parts of the Mancellian granitic batholith. Early studies of Mont Saint-Michel by French geologists sometimes describe the leucogranite of the Mont as "granulite", but this granitic meaning of granulite is now obsolete.
It is located about one kilometre (0.6 miles) off the country's northwestern coast, at the mouth of the Couesnon River near Avranches and is 100 hectares (247 acres) in size.
The island has held strategic fortifications since ancient times and since the 8th century AD has been the seat of the monastery from which it draws its name. The structural composition of the town exemplifies the feudal society that constructed it: on top, God, the abbey and monastery; below, the great halls; then stores and housing; and at the bottom, outside the walls, houses for fishermen and farmers. The commune's position - on an island just 600 m from land - made it accessible at low tide to the many pilgrims to its abbey, but defensible as an incoming tide stranded, drove off, or drowned would-be assailants. The Mont remained unconquered during the Hundred Years' War; a small garrison fended off a full attack by the English in 1433.  The reverse benefits of its natural defence were not lost on Louis XI, who turned the Mont into a prison. Thereafter the abbey began to be used more regularly as a jail during the monarchy.
One of France's most recognizable landmarks, visited by more than 3 million people each year, Mont Saint-Michel and its bay are on the UNESCO list of World Heritage Sites.
 Over 60 buildings within the commune are protected in France as  "Monuments historiques" (Historical buildings).
In the 11th century, the italian architect William di Volpiano was chosen by Richard II, Duke of Normandy, to be the building contractor of the Mont Saint-Michel church. He designed the Romanesque church of the abbey, daringly placing the transept crossing at the top of the mount. Many underground crypts and chapels had to be built to compensate for this weight; these formed the basis for the supportive upward structure that can be seen today.
Robert de Thorigny, a great supporter of Henry II of England (also Duke of Normandy), reinforced the structure of the buildings and built the main façade of the church in the 12th century.
In 1204, Guy de Thouars, regent for the Duchess of Brittany, as vassal of the King of France, undertook a siege of the Mount. After having set fire to the village and having massacred the population, he was obliged to beat a retreat under the powerful walls of the abbey. The buildings, and the roofs fell prey to the flames. Horrified by the cruelty and the exactions of his Breton ally, Philip Augustus offered Abbot Jordan a grant for the construction of a new Gothic architectural set which included the addition of the refectory and cloister.
Charles VI is credited with adding major fortifications to the abbey-mount, building towers, successive courtyards, and strengthening the ramparts.
Since 2001, a community of monks and nuns of the Monastic Fraternities of Jerusalem, sent from the mother-house of St-Gervais-et-St-Protais in Paris, have been living as a community on Mont Saint-Michel. They replaced the Benedictine monks who returned to the Mount in 1966. They are tenants of the centre for National Historical Monuments and are not involved in the management of the abbey. The community meets four times a day to recite the liturgical office in the abbey itself (or in the crypt of Notre-Dame des Trente Cierges in winter). In this way, the building keeps its original purpose as a place of prayer and singing the glory of God. The presence of the community attracts many visitors and pilgrims who come to join in the various liturgical celebrations.
In 2012, the community undertook the renovation of a house on the Mount, the Logis Saint-Abraham, which is used as a guest house for pilgrims on retreat.

The painter 
The english painter Joseph Mallord William Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence in the history of painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light" and his work is regarded as a Romantic preface to Impressionism.
In his thirties, Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He made many visits to Venice.   Turner's talent was recognized early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterized by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles." Turner was recognized as an artistic genius: influential English art critic John Ruskin described him as the artist who could most "stirringly and truthfully measure the moods of Nature."
Turner's major venture into printmaking was the Liber Studiorum (Book of Studies), seventy prints that he worked on from 1806 to 1819. The Liber Studiorum was an expression of his intentions for landscape art. The idea was loosely based on Claude Lorrain's Liber Veritatis (Book of Truth), where Lorrain  had recorded his completed paintings; a series of print copies of these drawings, by then at Devonshire House, had been a huge publishing success. Turner's plates were meant to be widely disseminated, and categorized the genre into six types: Marine, Mountainous, Pastoral, Historical, Architectural, and Elevated or Epic Pastoral.  His printmaking was a major part of his output, and a museum is devoted to it, the Turner Museum in Sarasota, Florida, founded in 1974 by Douglas Montrose-Graem to house his collection of Turner prints.
Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand (note the frequent scenes of people drinking or working or walking in the foreground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on the other. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God – a theme that romanticist artists and poets were exploring in this period. Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena.
Turner used pigments like carmine in his paintings, knowing that they were not long-lasting, despite the advice of contemporary experts to use more durable pigments. As a result, many of his colours have now faded greatly.
John Ruskin says in his "Notes" on Turner in March 1878 : "His true master was Dr Monro; to the practical teaching of that first patron and the wise simplicity of method of watercolour study, in which he was disciplined by him and companioned by Girtin, the healthy and constant development of the greater power is primarily to be attributed; the greatness of the power itself, it is impossible to over-estimate. "

FUJIYAMA / 富士山 (n°32) BY HOKUSAI

KATSUSHIKA HOKUSAI (1760–1849) 

Fujiyama / 富士山  (3, 776 m -12,389 ft)

Japan

Rain Storm below Mount Fuji, n° 32 from the series 36 Views of Mount Fuji woodblock print, ink and color on paper,
The MET, The Howard Mansfield Collection

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 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.

EIRIKSJÖKULL PAINTED BY ASGRIMUR JONSSON

ASGRIMUR JONSSON (1876-1958) 

Eiríksjökull  (1,675m - 5,495 ft)  

Iceland

In  Strúttur og Eiríksjökul, oil on canvas, 1930, 

The mountain-glacier 
Eiríksjökull  (1675m - 5,495 ft)   (Eirík's glacier) is a glacier north-west of Langjökull in Iceland, with an area of 22 km2 (8.5 sq mi) reaching a height of 1,675 m (5,495 ft), making it the largest table mountain in Iceland.  Rising over 1,000 m (3,300 ft) above its surrounding, the lowest 350 m (1,150 ft) of a hyaloclastite (móberg) tuya formed presumably by a single subglacial volcanic activity is capped by a 750 m (2,460 ft) thick lava shield.  It is currently dormant or extinct in terms of volcanic activity.

The painter 
Asgrímur Jónsson was an Icelandic painter, and one of the first in the country to make art a professional living. He studied at the Royal Academy in Copenhagen between 1900 and 1903 and traveled widely after graduation. The subjects of his pictures are mostly the landscapes of his home country, particularly mountains. His painting style is similar to the French impressionists like Corot. Some of his pictures also illustrate Icelandic sagas and folk tales.
He was also noted for his murals in various churches in Iceland. A number of his works are on display in the National Gallery of Iceland. Jónsson influenced many artists in Iceland. A short time before he died he had donated his house in Reykjavík to the Icelandic Government along with all those paintings which were at that time in his possession. These consisted of 192 oil paintings and 277 water colours together with a great number of unfinished pictures dating from various periods in his life. During his lifetime Ásgrímur Jónsson was honoured in many ways. He was made honorary professor at the University of Iceland and, in 1933 he was made Grand Knight of the Icelandic Order of the Falcon. He was an honorary member of the Royal Swedish Academy of Arts and Knight of Dannebrog, first class. He died in 1958 and was buried in Gaulverjabær.
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2017 - Wandering Vertexes...
by Francis Rousseau 

GERLACHOVSKY STIT BY JAN STANISLAWSKI

JAN STANISLAWSKI (1860-1907), 

Gerlachovský štít (2,654 m - 8,709 ft)

Slovakia- Poland

 In High Tatras in winter, oil on canvas,  1891

The mountain 
 Gerlachovský štít (2,654 m - 8,709 ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.
Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.
Climbing
The High Tatras is truly an alpine rock climber’s paradise since there are no nasty glaciers about and the snow is mostly gone by June, though it may linger in some of the shaded valleys until late August. There are literally hundreds of alpine rock and face climbs here and most of them have never been done by westerners even 10 years after the fall of the wall. Most importantly the rock quality is on a par with Yosemite and the routes are well established and protected. Only members of a national UIAA club are allowed to climb the peak on their own. Other visitors have to take a certified mountain guide. The two easiest routes, usually up the Velická próba and down the Batizovská próba named after their respective valleys, are protected by chains.Technically only a grade II to III climb when not snow covered it benefits greatly from a very well maintained mountain trail that leads to the summit along a standard route.

The painter 
Jan Stanisławski was a Polish modernist painter, art educator, founder and member of various innovative art groups and literary societies. He began to learn painting at the art studio in Warsaw which later gave rise to the School of Fine Arts, under Wojciech Gerson.  In 1885, he continued his studies in Paris under Charles Emile Auguste Durand. While based in Paris, he travelled much, visiting Italy, Spain, Switzerland, Germany, Austria and eastern Galicia.
His early works were exhibited at the inauguration of the Salon du Champ-de-Mars in Paris in 1890 and at the Kraków Society of Friends of Fine Arts in 1892. In the 1890s, he travelled extensively and his sketchbooks filled up with drawings from Berlin, Dresden, Prague, Kraków, and various places in Ukraine.  In 1897, he initiated and helped organise the Separate Exhibition of Painting and Sculpture at Kraków’s Cloth Hall. That year, he became a teacher of landscape painting at the School of Fine Arts in Kraków, and in 1906 – after the school was upgraded to an academy in 1900 – was granted full professorship and also taught at Teodor Axentowicz’s Private School of Painting and Drawing for Women and at Teofila Certowicz’s Art School for Women in Kraków.
He co-founded the Society of Polish Artists "Sztuka" ("Art") in Kraków in 1897.  In 1898, he became a member of the Viennese Secession, and his works were exhibited among theirs in 1901, 1902 and 1905. In 1901, he became a founding member of the Polish Applied Arts Society. He worked in the Wawel Castle Reconstruction Committee and was involved in the activities of the Green Balloon (Zielony Balonik) Cabaret. After his death, two exhibitions were opened at the Palace of Art by the Kraków Society of Friends of Fine Arts in November 1907, one to show 154 of his oil paintings, as well as drawings and watercolours, and the other to present the works of his numerous outstanding students.
_______________________________
2017 - Wandering Vertexes...
by Francis Rousseau

DENT DE MAN IN VINTAGE STAMPS

VINTAGE STAMPS

Dent de Man (881m - 2, 890ft) 

République de Côte d'Ivoire

1. In Dent de Man, Série Sites touristiques,  Postes 1992, 25f.  mountainstamps.com

2. In Dent de Man, Serie 9e anniversaire de l'Indépendance, 1969, 30f. mountainstamps.com 

The mountain 

The Dent de Man  (881m - 2, 890ft)  (Tooth of Man) is a granite rock formation that dominates the town of Man, situated in the  west of Côte d'Ivoire (Ivory Coast). Throughout the years, this mountain became a destination for hiking and climbing enjoyed by tourists. The town of Man itself is nicknamed "The city with the 18 mountains", because located in a basin surrounded by a  mountains range. It takes the name of the sacrifice by Patriarch Gbe, chief of canton of Gbêpleu at the end of the 19th century of his daughter named Manie  "who was buried alive in the forest to favor the development of the region". The Dent de Man which actually has two summits, is situated in a very verdant environment with a canopy is very rich in biodiversity. Large evergreen trees are found alongside plantations of coffee, cocoa, cassava, mango, papayas, rice, bananas, rubber trees or palm trees.

MOUNT KATAHDIN PAINTED BY MARSDEN HARTLEY

MARSDEN HARTLEY (1877-1943)

Mount Katahdin (1,605 m - 5,267ft)

United States of America (Maine)  

In Mount Katahdin, (Maine), Autumn, oil on canvas, 1939-40,  The MET

About the painting:  notice from the MET 

Beginning in the mid-1930s, Hartley, a restless artist who had previously been associated with the European avant-garde, proclaimed himself to be the "Painter from Maine." Between 1939 and 1942, he created more than eighteen bold paintings of Maine’s highest peak, Mount Katahdin, a geological landmark that, as the northernmost terminus of the Appalachian Trail, resonated with both regional and national symbolism. Hartley’s flat and rough-hewn depiction of form aligns his work with folk art, which audiences and critics embraced throughout the period as inherently American.

The mountain  

Mount Katahdin (1,605 m - 5,267 feet)  is the highest mountain in the U.S. state of Maine and the northern terminus of the Appalachian Trail. The mountain, being a mile above sea level, towers above the comparatively low Maine lakes and forests. Named Katahdin by the Penobscot Indians, which means "The Greatest Mountain", Katahdin is the centerpiece of Baxter State Park.  The official name is "Mount Katahdin" as decided by the US Board on Geographic Names in 1893. Among some Native Americans, Katahdin was believed to be the home of the storm god Pamola, and thus an area to be avoidedIt is a steep, tall mountain formed from a granite intrusion weathered to the surface. 

Katahdin was known to the Native Americans in the region, and was known to Europeans at least since 1689. It has inspired hikes, climbs, journal narratives, paintings, and a piano sonata. The area around the peak was protected by Governor Percival Baxter starting in the 1930s. Katahdin  is located near a stretch known as the Hundred-Mile Wilderness.

Katahdin is referred to 60 years after Field’s climb of Agiokochuk (Mount Washington) in the writings of John Gyles, a teenage colonist who was captured near Portland, Maine in 1689 by the Abenaki. While in the company of Abenaki hunting parties, he traveled up and down several Maine rivers including both branches of the Penobscot, passing close to “Teddon”. He remarked that it was higher than the White Hills above the Saco River.

The first recorded climb of "Catahrdin" was by Massachusetts surveyors Zackery Adley and Charles Turner, Jr. in August 1804.[14] In the 1840s Henry David Thoreau climbed Katahdin, which he spelled "Ktaadn"; his ascent is recorded in a well-known chapter of The Maine Woods. A few years later Theodore Winthrop wrote about his visit in Life in the Open Air. Painters Frederic Edwin Church and Marsden Hartley are well-known artists who created landscapes of Katahdin. 

In the 1930s Governor Percival Baxter began to acquire land and finally deeded more than 200,000 acres (809 km2) to the State of Maine for a park, named Baxter State Park after him. The summit was officially recognized by the US Board on Geographic Names as "Baxter Peak" in 1931.

The painter 
Marsden Hartley  was an American Modernist painter, poet, and essayist.
Hartley began his art training at the Cleveland Institute of Art after his family moved to Cleveland, Ohio, in 1892.  He won a scholarship to the Cleveland School of Art.
In 1898, at age 22, he moved to New York City to study painting at the New York School of Art under William Merritt Chase, and then attended the National Academy of Design. Hartley was a great admirer of Albert Pinkham Ryder and visited his studio in Greenwich Village as often as possible. His friendship with Ryder, in addition to the writings of Walt Whitman and American transcendentalists Henry David Thoreau and Ralph Waldo Emerson, inspired Hartley to view art as a spiritual quest.
Hartley first traveled to Europe in April 1912, and he became acquainted with Gertrude Stein's circle of Avant-garde writers and artists in Paris.  Stein, along with Hart Crane and Sherwood Anderson, encouraged Hartley to write as well as paint.
In 1913, Hartley moved to Berlin, where he continued to paint and befriended the painters Wassily Kandinsky and Franz Marc. He also collected Bavarian folk art.  His work during this period was a combination of abstraction and German Expressionism, fueled by his personal brand of mysticism.
In Berlin, Hartley developed a close relationship with a Prussian lieutenant, Karl von Freyburg. References to Freyburg were a recurring motif in Hartley's work, most notably in Portrait of a German Officer (1914). Freyburg's subsequent death during the war hit Hartley hard, and he afterward idealized their relationship. Many scholars believe Hartley to have been gay, and have interpreted his work regarding Freyburg as embodying his homosexual feelings for him.
Hartley finally returned to the U.S. in early 1916. He lived in Europe again from 1921 to 1930, when he moved back to the U.S. for good.  He painted throughout the country, in Massachusetts, New Mexico, California, and New York. He returned to Maine in 1937, after declaring that he wanted to become "the painter of Maine" and depict American life at a local level.  This aligned Hartley with the Regionalism movement, a group of artists active from the early- to-mid 20th century that attempted to represent a distinctly "American art." He continued to paint in Maine, primarily scenes around Lovell and the Corea coast, until his death in Ellsworth in 1943. His ashes were scattered on the Androscoggin River. Most of his mountains paintings of Maine are nowadays in the MET collections.

CERRO DEL CABALLO PAINTED BY JOAQUIN SOROLLA

JOAQUIN SOROLLA Y BATISDA (1863-1923)

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

Spain (Andalusia)

The mountain 

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

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

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

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

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

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

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

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

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

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

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

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

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

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