FUCHUN MOUNTAINS PAINTED BY HUANG GONGWANG

HUANG GONGWANG  (黃公望) (1269-1354)

Fuchun Mountains (400 / 500m - 1312,34 ft /1640,42ft)

China

 Scroll of "Dwelling in the Fuchun Mountains" 

3 different views from the scroll + the complete scroll

Painted between 1347 and 1350

National Palace Museum, Taipei

The painter
Huang Gongwang (黃公望) (1269-1354), original name Lu Jian (陸堅), went by the style name Zijiu (子久) and sobriquets Dachi (大癡) and Yifeng Daoren (一峰道人).
Huang Gongwang is considered one of the Four Great Masters of the Yuan along with Wu Zhen (吳鎮) (1280-1354), Ni Zan (倪瓚) (1301-1374), and Wang Meng (王蒙) (1308-1385), and is revered as their spiritual leader.
A native of Changshu, he came from a poor family and was orphaned at an early age.
Huang Le (黃樂) of Yongjia was 90 years old at the time and without a male heir. Appreciating the talents of the young boy, he treated the child as his own. The Lu family thereupon consented to allow Huang to adopt him and carry on the Huang name. Huang exclaimed by saying "Old Man Huang has always longed for a son". This became the basis of Huang Gongwang's name, which translates literally as "Old Man Huang's Longing."
Huang Gongwang was exceptionally gifted as a youth, mastering the Chinese classics at an early age. He also studied Taoism and later became a follower of the Quanzhen Sect. Traveling throughout the Songjiang and Hangzhou regions, he made a living by fortune-telling. Like his interest in calligraphy and music, painting was an activity practiced on the side. His landscape paintings are based on the manners of Dong Yuan (董源) and Juran (巨然), 10th-century artists who depicted the soft rolling landscape of the south.
He worked on the painting “Dwelling in the Fuchun Mountains”  (above) on and off when the mood struck him from about 1347 to 1350, when the major portions of this handscroll were completed. “Dwelling in the Fuchun Mountains” is one of the  rare surviving  Huang's masterpieces and maybe his greatest. It is now shown in the National Palace Museum in Taipei.

The mountains
Endowed with green mountains and clear waters, Fuchun is nowadays a modern city with a population of over one million. It is an important industrial city in Northeast China. Generally known as Coal City, Fuchun is now also reputed as the City of Rocks.
Fuchun City is cuddled by hills in the south, north and east. It is a part of Long gang Mount Range of Changbai Mountain Family and has an altitude of 400 to 500 meters (1312,34 ft to 1640,42ft).
The northern part of Fuchun is characterized by low and flat highlands while its western part features the plain of accumulations by Hunhe River. The plain is 100 to 300 meters high above the sea level. There are Hunhe River, Taizi River, Suzi River and Fu’erjiang River.
Fuchun City is the cradle of Qing dynasty. Hetuala City, the original location of the establishment of Qing Empire, is retained completely.

MONT VENTOUX PAINTED BY JULES LAURENS

JULES LAURENS (1823-1901)

Le Mont Ventoux (1,911 m - 6,270ft) 

France 

In Vue de la route de Bedouin, oil on canvas, Musée Contadin-Duplessis, Carpentras, France

The mountain 

Mont Ventoux (Ventor in Latin) is located in the French department of Vaucluse (Provence-Alpes-Côte d'Azur). Culminating at 1,911 meters - 6, 270 ft, it is about 25 kilometers long on an east-west for 15 kilometers wide on a north-south axis. Nicknamed the Giant of Provence, it is the culmination of the Monts du Vaucluse, the ultimate link of the Southern Alps and the highest peak of Vaucluse. Its geographical isolation makes it visible over great distances. 

Mont Ventoux is as well the linguistic border between the north and south-Occitan.

Its mainly calcareous nature is responsible, in its top part, its deep white color in every season and intense karstification due to erosion by water, with the presence of numerous scree on the south face. Precipitation is particularly abundant in spring and fall. Rainwater seeps into galleries and reflects the level of the variable flow resurgences such as Fontaine de Vaucluse or Source du Groseau.

Mont Ventoux is subject to a Mediterranean dominant weather, sometimes causing scorching temperatures during summer, the altitude offering a wide variety of climates, to the top (continental influence of mountain type), through a temperate climate (mid-slopes). In addition, the north wind can be very violent and the Mistral blows almost half part of the year. 

This particular geomorphology and climate make it a rich and fragile environmental site consisting of many levels of vegetation. It is s a biosphere reserve by UNESCO and Natura 2000 site.

If human settlements are found in the foothills in prehistoric times, the first ascent to the summit would work on 26 April 1336, the poet Petrarch from Malaucène on the northern slope. It opens the way later in numerous scientific studies. 

Thereafter, for nearly six centuries, Mont Ventoux has been intensely deforested to provide the shipbuilding in Toulon, charcoal manufacturers and sheep farmers. During World War II, the mountain is home to the Ventoux maquis, the french Resistance against Nazis.

Since 1966, the summit is topped with an observation tower over forty meters high topped by a TV and satellite antenna. 

While sheep farming has almost disappeared, beekeeping, gardening (especially cherries), viticulture, harvesting of mushrooms including truffles and, to a lesser extent,  lavender, are still practiced.

Mont Ventoux is an important symbolic figure of Provence that fed oral or literary works and artistic performances or pictorial map. It is represented since 1445 in the famous Pieta d'Avignon  by Engurerant Quarton, where one can see it painted on the right, behind Mary Magdalene weeping at the feet of Christ (see picture above)

Before being covered by three main roads, which enabled the development of green tourism and outdoor sports both in summer and winter in particular with the organization of major cycling races, motor cars and other challenges, mountain was crisscrossed by sheep tracks traced by shepherds as a result of the growth of sheep between the fourteenth century and the mid-nineteenth century. These roads have now been turned into hiking trails, like the GR 4 and GR 9.

The painter 

Jules-Joseph-Augustin Laurens, commonly known as Jules Laurens, was a French artist in drawing, painting, and lithography born in Provence and remembered, above all, for his Orientalist works.

At the age of 12, he went to live with his brother, Jean-Joseph (1801–1890) in Montpellier where he attended the city's art college while benefitting from his brother's artistic contacts. He went on to Paris, studying under Paul Delaroche at the Ecole des Beaux-Arts, first exhibiting in 1840 and completing his studies in 1846. Chosen by the geographer Xavier Hommaire de Hell to join him on an extended scientific journey to Turkey and Persia, Laurens made over a thousand drawings of the sites, costumes and people he encountered on his travels. They included many portraits of Persian personalities. Hundreds of his drawings were presented in the Atlas historique et scientifique, the fourth volume of the Voyage en Turquie et en Perse published by de Hell's wife. Some of Laurens' lithographs were published in L'Illustration and Tour du Monde, both popular periodicals, while the originals, together with his early watercolours were given to the library of the Ecole des Beaux-Arts. Laurens also painted examples of qajar art while in Persia, including his Danseuse au tambourin.

Laurens continued his career in France after returning in 1849, exhibiting paintings and engravings in virtually every Salon from 1850 to 1891. He was also active in literary circles where he met many celebrities. His La Légende des ateliers, published in his later days, contains anecdotes of his travels.

Ref: 

Jules Laurens Biography

THE SUGARLOAF PAINTED BY N.A.TAUNAY

NICOLAS-ANTOINE TAUNAY (1755-1830) 

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

Brazil

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

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

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

THE "DENTS DU MIDI" PAINTED BY FREDERIC ROUGE

FREDERIC ROUGE (1867-1950)

The Dents du Midi  (3,114 m to 3,257 m -10,216 ft to10,685 ft) 

Switzerland

In At sunset, 1922 and 1943, oil on canvas, Private collection

The mountains

The Dents du Midi (Teeth of the south)  (3,114 m to 3,257 m -10,216 ft to10,685 ft) are mountain range, 3 kilometers long, located in the Chablais Alps in the canton of Valais in Switzerland. Overlooking the valley of Illiez and Rhône Valley on south, they face the lake Salanfe, an artificial reservoir, and are part of the geological whole massif Giffre.

The name "Dents du Midi" is recent. The people formerly called them "Dents Tsallen". It was only towards the end of the19e century that the name "Dents du Midi" came officially.

Each « tooth » had several names over the centuries and according to its geological evolution.

- The "Cime de l'Est" (3,178 meters) called "Mont Novierre" before the mid-17th century, and "Mont Saint-Michel "after landslides in 1635 and 1636 and finally "Dent Noire" (until the 19th century).

- The "Dent Jaune" (3,186 m) was called the "Dent Rouge" until 1879.

- The "Doigt de Champéry" (in 1882) and then the Doigt Salanfe (in 1886) turned just into "Les Doigts" (Fingers) (3,205 m and 3210 m).

- The  "Haute Cime" (3,257 m) also had many names : "Dent de L’ouest" (until 1784)an then "Dent du Midi", "Dent de Tsallen" and "Dent  de Challent."

- As for l’Eperon (3,114 m) (The Spur), it is assumed that there were two peaks but a landslide in the Middle Ages significantly changed its crest.

- The  Forteresse (3,164 m) and the Cathedral (3,160 m) have not changed names.

The evolution of this massif continues nowadays. So on the morning of 30 October 2006, a volume of 1 million m3 of rock broke away from the edge of the Haute Cime and slid down the slope to an altitude of about 3000 m. The event did not present danger to the nearby village of Val-d'Illiez but roads and trails were closed for security reasons. According to the cantonal geologist, the landslide was caused by the thawing of rocks, helped by warm summers of recent years.

The painter 

Frederic Rouge was born in Aigle (Switzerland), on 27 April 1867. His parents owned a small shoe factory. After school, he attended the Fine Arts College in Basel for a year, coming first of his class at the end of the course. Then, after a while studying with  the history painter Vigier, he came back home to live with his parents. To perfect his technique, the artist spent three consecutive winters at the Julian Academy in Paris "where Professor Boulanger, exacting and irascible, was hard to please".  In 1903, Frederic Rouge settled in Ollon, not far from Aigle, in a pleasant house called "The Cedars". Today Ollon is still a large village surrounded by orchards and vineyards bathed in sunshine, its dense forests teeming with wildlife, and where the Alpine scenery reigns supreme. 

He wholeheartedly loved this region which provided him with so many subjects of inspiration, and whose every season, scene and mood he rendered so faithfully.

Frederic Rouge was suffering from paralysis when he died on 13 February 1950. All his life he had remained unassuming, an honest man and a great artist, true to his ideals, a citizen devoted to the cause of liberty - perhaps not the best way to make one's fortune, even for a painter of talent ! 

Sources:

Frederic Rouge biography 

ACONCAGUA PAINTED BY A.P. COLEMAN

ARTHUR PHILEMON COLEMAN (1852-1939) 

Aconcagua - Peak South  (6,961m - 22, 838ft) 

Argentina

Watercolor painted in 1897 during the first ascent expedition

The mountain

Aconcagua (6,961 meters -22,838 ft) is the highest mountain outside of Asia and by extension the highest point in both the Western Hemisphere and the Southern Hemisphere. The origin of the name is contested; it is either from the Mapuche  "Aconca-Hue", which refers to the Aconcagua River, the Quechua "Ackon Cahuak", meaning "Sentinel of Stone", or Quechua "Anco Cahuac", meaning "White Sentinel" or the Aymara  "Janq'u Q'awa" meaning "White Ravine", "White Brook".  

Aconcagua is located in the Andes mountain range, in the Mendoza Province, Argentina, and lies 112 kilometers (70 mi) northwest of its capital, the city of Mendoza. The summit is also located about 5 kilometers from San Juan Province and 15 kilometers from the international border with Chile; its nearest higher neighbor is Tirich Mir in the Hindu Kush, 16,520 kilometers (10,270 mi) away. 

Aconcagua is one of the Seven Summit, which includes the highest mountains of each of the seven  continents. Summiting all of them is regarded as a mountaineering  challenge, first achieved on April 30, 1985 by Richard Bass.  

The 7 summits (which are obviously 8 !)... are : 

 Mt Everest (8,848m), Aconcagua (6,961m), Mt Denali or Mc Kinley (6,194m),  Kilimandjaro (5,895m), Mt Elbrus (5,642m), Vinson  Massif (4,892m), Mt Blanc (4,807m) and Mount Kosciuszko  (2,228m).

Aconcagua was created by the subduction of the Nazca Plate beneath the South American Plate during the geologically recent Andean orogeny; but it is not a volcano.  It is bounded by the Valle de las Vacas to the north and east and the Valle de los Horcones Inferior to the west and south. The mountain and its surroundings are part of the Aconcagua Provincial Park. The mountain has a number of glaciers. The largest glacier is the Ventisquero Horcones Inferior at about 10 km long, which descends from the south face to about 3600 m altitude near the Confluencia camp. Two other large glacier systems are the Ventisquero de las Vacas Sur and Glaciar Este/Ventisquero Relinchos system at about 5 km long. The most well-known is the north-eastern or Polish Glacier, as it is a common route of ascent.

The routes to the peak from the south and south-west ridges are more demanding and the south face climb is considered quite difficult.

The mains routes are:

- Puente del Inca, 2,740 meters (8,990 ft): A small village on the main road, with facilities including a lodge.

- Confluencia, 3,380 meters (11,090 ft): A camp site a few hours into the national park.

- Plaza de Mulas, 4,370 meters (14,340 ft): Base camp, claimed to be the second largest in the world (after Everest). There are several meal tents, showers and internet access. There is a lodge approx. 1 km from the main campsite across the glacier. At this camp, climbers are screened by a medical team to check if they are fit enough to continue the climb.

- Camp Canadá, 5,050 meters (16,570 ft): A large ledge overlooking Plaza de Mulas.

- Camp Alaska, 5,200 meters (17,060 ft): Called 'change of slope' in Spanish, a small site as the slope from Plaza de Mulas to Nido de Cóndores lessens. Not commonly used.

- Nido de Cóndores, 5,570 meters (18,270 ft): A large plateau with beautiful views. There is usually a park ranger camped here.

- Camp Berlín, 5,940 meters (19,490 ft): The classic high camp, offering reasonable wind protection.

- Camp Colera, 6,000 meters (19,690 ft): A larger, while slightly more exposed, camp situated directly at the north ridge near Camp Berlín, with growing popularity. In January 2011, a shelter was opened in Camp Colera for exclusive use in cases of emergency. The shelter is named Elena after Italian climber Elena Senin, who died in January 2009 shortly after reaching the summit, and whose family donated the shelter.

- Several sites possible for camping or bivouac, including Piedras Blancas (~6100 m) and Independencia (~6350 m), are located above Colera; however, they are seldom used and offer little protection.

Summit attempts are usually made from a high camp at either Berlín or Colera, or from the lower camp at Nido de Cóndores. All camps are used frequently, namely Plaza de Mulas and Nido de Cóndores.

Reference  

- Aconcagua in Andeshandbook

The artist 

Arthur Philemon Coleman was a Canadian a geologist, professor, minerals prospector, artist, Rockies explorer, backwoods canoeist, world traveller, scientist, popular lecturer, museum administrator, memoirist and...  one of Canada’s most beloved scientist. 

Arthur Coleman is a fine example of that rare bird, a polished amateur artist whose drawings and paintings stand comfortably beside those of many professionals. He was active during the time when sketching and painting was ceding to photography the task of recording the visible world. Although he was also a photographer, painting was, for him, both a poetic and a descriptive pursuit, a way of wrapping an artistic expression around a phenomenon he was interested in or moved by. Thus motivated, Coleman's paintings give much joy and command a good deal of respect. The more surprising, perhaps given that he used to introduced himself more as a geologist than a painter.

Coleman travelled throughout the United States for professional conferences as well as geological field work.  He visited many of the major American mountain ranges including: the American Cordillera Mountains (Washington, Oregon and California); the Sierra Nevada Mountains (California and Nevada); Yellowstone National Park (Wyoming, Montana and Idaho); and the Appalachian Mountains (eastern United States). Pleistocene glaciation had extended in Northern Europe as far south as Berlin and London and covered an area of two million square miles. Coleman also visited such countries as India, Australia, Brazil, Argentina, Scandinavia, Bolivia, New Zealand, South Africa and Uruguay. In his final years he made two expeditions to the Andes in Colombia, to mountains in Southern Mexico and to two mountains in Central America.  He achieved the first ascent of Castle Mountain in 1884, and in 1907, he was the first white man to attempt to climb Mount Robson. He made a total of eight exploratory trips to the Canadian Rockies, wholly four of them looking for the mythical giants of Hooker and Brown. 

From 1901 to 1922, he was a Professor of Geology at the University of Toronto and was Dean of the Faculty of Arts from 1919 to 1922. From 1931 to 1934, he was a geologist with the Department of Mines of the Government of Ontario. He was elected a Fellow of the Royal Society of Canada in 1900 and was its President in 1921. In 1929, he was appointed Honorary Vice-President of the Royal Canadian Geographical Society.

 "Mount Coleman" and "Coleman Glacier" in Banff National Park is named in his honor.  He was awarded the Penrose Medal in 1936.

He planned to climb "hi" mountain, "Mount Coleman"'in the Albertan Rockies, and had also prepared a trip to British Guiana, but death intervened.

He was author of:

- Reports on the Economic Geology of Ontario (1903)

- Lake Ojibway; Last of the Great Glacial Lakes (1909) 

- The Canadian Rockies: New and Old Trails (1911)

- Ice Ages, Recent and Ancient (1926), and was co-author of Elementary Geology (1922).

- The Last Million Years (1941) edited by George F. Kay

Reference :

Biography on A. P. Coleman's page of the Victoria  University Library 

THE MONT BLANC PAINTED BY J. M. W. TURNER

J.M.W. TURNER (1775-1851) 

The Mont Blanc (4,808.13 m - 15,776.7 ft)

  France - Italy  border

 In The Mont Blanc from Fort Roch-Val d'Aoste, c.1814, watercolor, Private collection

The watercolor 

The landscape depicted on the watercolor presented here (The Mont Blanc from Fort Roch-Val d'Aosta) is a view from the Val D'Aosta from the village of Levergogne, 11 kilometers southeast of Mont Blanc. Turner devised a battle it was held in 1796 during the invasion of Italy by the French troops during the First Empire.  The same year, Turner painted another watercolor  which is a "complementary image" to it (The Battle of Fort Rock, Val d'Aosta, 1796). On a stylistic level the canvas we are looking at, seems to date from 1814 and would prior to his "complementary image" evoking "Fort Battle Rock 1796". It is likely that Turner had wanted to link the two watercolors to make allegories of War and Peace. Such juxtaposition was quite relevant in 1815, at the time of the end of the Napoleonic wars. Turner later also pursued the creation of many other "complementary images » such as these, often connected beyond many years apart. In this allegory of Peace, therefore, three girls leaning over a parapet with some hesitation, rightly, given the depth of the abyss. But now the sky is calm, mountains  radiate beauty and Mont-Blanc appears in its wonderful light…

The mountain 

Mont Blanc (in French) or Monte Bianco (in Italian), both meaning "White Mountain", is the highest mountain in the Alps and the highest in Europe after the Caucasus peaks. It rises 4,808.73 m (15,777 ft) above sea level and is ranked 11th in the world in topographic prominence.  The Mont Blanc is one of the Seven Summit, which includes the highest mountains of each of the seven continents. Summiting all of them is regarded as a mountaineering challenge, first achieved on April 30, 1985 by Richard Bass.  The 7 highest summit, (which are obviously 8 with 2 in Europe !) are :  

Mount Everest (8,848m), Aconcagua (6,961m), Mt Denali or Mc Kinley (6,194m),  Kilimandjaro (5,895m), Mt Elbrus (5,642m), Mount Vinson (4,892m) and Mount Kosciuszko  (2,228m) in Australia.

The mountain lies in a range called the Graian Alps, between the regions of Aosta Valley, Italy, and Savoie and Haute-Savoie, France. The location of the summit is on the watershed line between the valleys of Ferret and Veny in Italy and the valleys of Montjoie, and Arve in France. The Mont Blanc massif is popular for mountaineering, hiking, skiing, and snowboarding.

The three towns and their communes which surround Mont Blanc are Courmayeur in Aosta Valley, Italy, and Saint-Gervais-les-Bains and Chamonix in Haute-Savoie, France.  A cable car ascends and crosses the mountain range from Courmayeur to Chamonix, through the Col du Géant. Constructed beginning in 1957 and completed in 1965, the 11.6 km (7¼ mi) Mont Blanc Tunnel runs beneath the mountain between these two countries and is one of the major trans-Alpine transport routes.

Since the French Revolution, the issue of the ownership of the summit has been debated. 

From 1416 to 1792, the entire mountain was within the Duchy of Savoy. In 1723 the Duke of Savoy, Victor Amadeus II, acquired the Kingdom of Sardinia. The resulting state of Sardinia was to become preeminent in the Italian unification.[ In September 1792, the French revolutionary Army of the Alps under Anne-Pierre de Montesquiou-Fézensac seized Savoy without much resistance and created a department of the Mont-Blanc. In a treaty of 15 May 1796, Victor Amadeus III of Sardinia was forced to cede Savoy and Nice to France. In article 4 of this treaty it says: "The border between the Sardinian kingdom and the departments of the French Republic will be established on a line determined by the most advanced points on the Piedmont side, of the summits, peaks of mountains and other locations subsequently mentioned, as well as the intermediary peaks, knowing: starting from the point where the borders of Faucigny, the Duchy of Aoust and the Valais, to the extremity of the glaciers or Monts-Maudits: first the peaks or plateaus of the Alps, to the rising edge of the Col-Mayor". This act further states that the border should be visible from the town of Chamonix and Courmayeur. However, neither the peak of the Mont Blanc is visible from Courmayeur nor the peak of the Mont Blanc de Courmayeur is visible from Chamonix because part of the mountains lower down obscure them. A Sardinian Atlas map of 1869 showing the summit lying two thirds in Italy and one third in France.

After the Napoleonic Wars, the Congress of Vienna restored the King of Sardinia in Savoy, Nice and Piedmont, his traditional territories, overruling the 1796 Treaty of Paris. Forty-five years later, after the Second Italian War of Independence, it was replaced by a new legal act. This act was signed in Turin on 24 March 1860 by Napoleon III and Victor Emmanuel II of Savoy, and deals with the annexation of Savoy (following the French neutrality for the plebiscites held in Tuscany and Emilia-Romagna to join the Kingdom of Sardinia, against the Pope's will). A demarcation agreement, signed on 7 March 1861, defines the new border. With the formation of Italy, for the first time Mont Blanc is located on the border of France and Italy.

The 1860 act and attached maps are still legally valid for both the French and Italian governments. One of the prints from the 1823 Sarde Atlas  positions the border exactly on the summit edge of the mountain (and measures it to be 4,804 m (15,761 ft) high). The convention of 7 March 1861 recognises this through an attached map, taking into consideration the limits of the massif, and drawing the border on the icecap of Mont Blanc, making it both French and Italian.Watershed analysis of modern topographic mapping not only places the main summit on the border, but also suggests that the border should follow a line northwards from the main summit towards Mont Maudit, leaving the southeast ridge to Mont Blanc de Courmayeur wholly within Italy.

Although the Franco-Italian border was redefined in both 1947 and 1963, the commission made up of both Italians and French ignored the Mont Blanc issue. In the early 21st century, administration of the mountain is shared between the Italian town of Courmayeur and the French town of Saint-Gervais-les-Bains, although the larger part of the mountain lies within the commune of the latter.

Climbing

The Mont Blanc Massif averages nearly 100 fatalities a year. A published estimate suggests there have been 6,000-8,000 alpinist fatalities in total, more than on any other mountain.Several classic climbing routes lead to the summit of Mont Blanc:

- The historic itinerary through the Grand Mulets, which is most frequently traversed in winter by ski, or in summer to descend to Chamonix.

- The normal Italian itinerary is also known as La route des Aiguilles Grises. After crossing the Miage Glacier, climbers spend the night at the Gonella refuge. The next day one proceeds through the Col des Aiguilles Grises and the Dôme du Goûter, concluding at L'arête des Bosses (Bosses ridge).

- The most popular route is the Voie Des Cristalliers, also known as the Voie Royale. Starting from Saint-Gervais-les-Bains, the Tramway du Mont-Blanc (TMB) is taken to get to the fr:Gare du Nid d'Aigle. The ascent begins in the direction of the Refuge de Tête Rousse and through the Goûter Corridor, considered dangerous because of frequent rock-falls, leading to the Goûter cabin for night shelter. The next day the route leads to the Dôme du Goûter, past the emergency Vallot cabin and L'arrête des Bosses.

- La Voie des 3 Monts is also known as La Traversée. Starting from Chamonix, the Téléphérique de l'Aiguille du Midi is taken towards the Col du Midi. The Cosmiques cabin is used to spend the night. The next day the ascent continues over Mont Blanc du Tacul and Mont Maudit.

- The Miage — Bionnassay — Mont Blanc crossing is usually done in three days, and has been described as a truly magical expedition of ice and snow aretes at great altitude. The route begins from Contamines-Montjoie, with the night spent in the Conscrits cabin. The following day, the Dômes de Miages is crossed and the night spent at the Durier cabin. The third day proceeds over l'Aiguille de Bionnassay and the Dôme du Goûter, finally reaching the summit of Mont Blanc via the Bosses ridge.

Recent temperature rises and heatwaves, such as that of summer 2015, have had significant impacts on many climbing routes across the Alps, including those on Mont Blanc. For example, in 2015, the Grand Mulets route, previously popular in the 20th century, was blocked by virtually impenetrable crevasse fields, and the Gouter Hut was closed by municipal decree for some days because of very high stonefall danger, with some stranded climbers evacuated by helicopter.

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 Douglass 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. "

PANDIM PAINTED BY NICHOLAS ROERICH

NICHOLAS ROERICH (1874-1947) 

Mount Pandim  (6,691 m - 21,952 ft) 
India  (Sikkim)

 In Pandim, 1945, oil on canvas, Nicolas Roerich Museum, NY

The mountain 

Mount Pandim (6,691 m - 21,952 ft) is a Himalayan mountain located in Sikkim, India. It is considered often as a part of the  Kangchenjunga. mountains. Kangchenjunga sometimes spelled Kanchenjunga, is the third highest mountain in the world, and lies partly in Nepal and partly in Sikkim (India). It rises with an elevation of 8,586 m (28,169 ft) 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 east of Mt. Everest.
Kangchenjunga is the second highest peak of the Himalaya after Mount Everest. The main peak of Kangchenjunga is the highest mountain in India and the second highest in Nepal. Kangchenjunga Main is also the easternmost of the mountains higher than 8,000 m (26,000 ft). It is called Five Treasures of Snow after its five high peaks, and has always been worshipped by the people of Nepal Darjeeling and Sikkim. Three of the five peaks – Main, Central and South – are on the border between North Sikkim in India and Nepal. Two peaks are in the Taplejung District, Nepal.
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. Allowing for further verification of all calculations, it was officially announced in 1856 that Kangchenjunga is the third highest mountain in the world.

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.

_______________________________

2016 - Wandering Vertexes...
by Francis Rousseau 

BENBULBIN BY IRISH PAINTERS

BenBulbin (526 m) by Kate Kern Mundie, 2010

BenBulbin (526m), Ireland, by Jim Mc Parltin

BENBULBIN or BINN GHULBAIN  (526 m - 1,726ft)
 Ireland

The mountain 
Benbulbin (526 m- 1,726ft) sometimes spelled Ben Bulben or Benbulben (from the Irish: Binn Ghulbain), is a large rock formation in County Sligo, Ireland. It is part of the Dartry Mountains, in an area sometimes called "Yeats Country". Benbulbin is a protected site, designated as a County Geological Site by Sligo County Council.
Benbulbin is the setting of several Irish legends. It is said to be one of the hunting grounds of the Fianna, a band of warriors who are said to have lived in the 3rd century. One example is a story in which the warrior Diarmuid Ua Duibhne (Diarmuid) is tricked by the giant Fionn mac Cumhaill (Finn McCool) into fighting an enchanted boar, which later kills the warrior by piercing his heart with its tusk. The mountain is said to be Diarmuid and Gráinne's resting place. Also, in the 6th century, St. Columba fought a battle on the plain below Benbulbin at Cúl Dreimhne (Cooladrumman) for the right to copy a Psalter he had borrowed from St. Finnian.
Benbulbin was shaped during the ice age, when Ireland was under glaciers. Originally it was a large plateau. Glaciers moving from the northeast to southwest shaped it into its present distinct formation.
Benbulbin, and the Dartry Mountains as a whole, are composed of limestones on top of mudstones. These rocks formed in the area approximately 320 million years ago in a shallow sea. Uppermost in the limestone layer is a thicker, harder limestone called the Dartry Limestone Formation. Below this is a thinner transitional limestone formation – the Glencar Limestone Formation. Further down, the lower slopes consist of shaly mudstone known as the Benbulben Shale Formation. Scree deposits are found near the base. Fossils exist throughout the layers of the mountains. All layers have many fossilised sea shells. The shale layer also holds some corals. Barytes was mined at Glencarbury near Benbulbin in the Dartry range between 1894 and 1979.
Benbulbin is an established walking destination.  If climbed by the north face, it is a dangerous climb. That side bears the brunt of the high winds and storms that come in from the Atlantic Ocean. However, if approached by the south side, it is an easy walk, since that side slopes very gently. Upon reaching the summit, the climber is rewarded with a magnificent view over the coastal plain of north Co. Sligo and the Atlantic ocean.  The land adjacent to the impressive western edge of the ridge is privately owned farmland and not accessible to the general public. However, there is a paved path up the south face to the east near Glencar Waterfall just over the County Leitrim border.

Benbulbin features prominently in the poetry of W. B. Yeats, after whom Yeats Country is named. County Sligo is considered integral to the poet's work. The mountain is one of the destinations on the Passport Trail of the poet's life.

Yeats wrote the following in The Celtic Twilight:

“

But for Ben Bulben and Knocknarea, Many a poor sailor'd be cast away.

”

Source:
- Ben Bulbin mountain 

ANNAPURNA II PAINTED BY A. G. CARRICK / H.M KING CHARLES III

A. G. CARRICK / H.M KING CHARLES III former PRINCE OF WALES (bn.1948) 

Annapurna II  (7,937 m -26,040 ft)  

Nepal

 In Annapurna II, watercolor, 1992

The mountain 

Annapurna II (7,937 m -26,040 ft) is part of the Annapurna mountain range, and is the eastern anchor of the range. The Annapurna massif contains six prominent peaks over 7,200 m (23,620 ft) elevation: Annapurna I (Main), 8,091 m (26,545 ft),  Annapurna II, 7,937 m (26,040 ft), Annapurna III, 7,555 m, (24,786 ft), Annapurna IV 7,525 m(24,688 ft), Gangapurna 7,455 m (24,457 ft) and Annapurna South,7,219 m (23,684 ft).
Annapurna II was first climbed quite lately, in 1960 by a British/Indian/Nepalese team led by J. O. M. Roberts via the West Ridge, approached from the north. The summit party comprised Richard Grant, Chris Bonington, and Sherpa Ang Nyima. In terms of elevation, isolation Annapurna II does not rank far behind Annapurna I Main, which serves as the western anchor. It is a fully independent peak, despite the close association with Annapurna I Main which its name implies.
Yugoslavs from Slovenia repeated this ascent in 1969, also climbing Annapurna IV. Kazmir Draslar and Majija Malezic reached the summit. In 1973 Japanese shortcut the route by climbing directly up the north face between IV and V before continuing along the west ridge. Katsuyuki Kondo reached the top in a remarkable solo performance.
In 1983, Tim Macartney-Snape planned and participated in an expedition to Annapurna II (7,937 m or 26,040 ft) successfully reaching the summit via the first ascent of the south spur. The descent was delayed by a blizzard and the expedition ran out of food during the last five days. They were reported missing and when the expedition eventually returned they received significant publicity.
On Feb 2, 2007, Philipp Kunz, Lhakpa Wangel, Temba Nuru and Lhakpa Thinduk made the first winter ascent. The team followed the route of the first ascent from the north.

 

The painter
Arthur George Carrick is actually H.M. the King Charles III, former Prince of Wales.
When he began showing his paintings, he was too nervous to display his name so displayed under a pseudonym. Arthur George are two of his names (Charles Phillip Arthur George) and one of his titles is Earl of Carrick. King Charles III is an experienced watercolourist.  He has been painting for most of his adult life, during holidays or when his official diary allows. King Charles' interest began during the 1970s and 1980s when he was inspired by Robert Waddell, who had been his art master at Gordonstoun in Scotland. In time, King Charles met leading artists such as Edward Seago, with whom he discussed watercolour technique, and received further tuition from John Ward, Bryan Organ and Derek Hill.
The Royal Family has a tradition of drawing and painting, and King Charles’ work first came to public notice at a 1977 exhibition at Windsor Castle at which other Royal artists included Queen Victoria, The Duke of Edinburgh and The Duke of York.
King Charles paints in the open air, often finishing a picture in one go and his favourite locations include The Queen's estate at Balmoral in Scotland and Sandringham House in Norfolk, England. Sometimes King Charles  III paints during his skiing holidays, and during overseas tours when possible.
The copyright of King Charles' watercolours belongs to A. G. Carrick Ltd, a trading arm of The King's Charities Foundation. Over the years King Charles III has agreed to exhibitions of his watercolours and of lithographs made from them, on the understanding that any income they generate goes to The Prince of Wales's Charitable Foundation.
Money from the sale of the lithographs also goes to the Foundation but the paintings themselves are never for sale.
In the 1980s King Charles III, then Prince of Wales,  began inviting young British artists to accompany him on official tours overseas and record their impressions, a tradition that has continued to this day.
Reference :
- The prince of Wales paintings 

_______________________________
2016 - Wandering Vertexes...
by Francis Rousseau 

MOUNT ELBRUS PAINTED BY ARKHIP KUINDZHI

ARKHIP KUINDZHI (1841-1910)

Mount Elbrus (5,642 m - 18,510 ft)
Russia 

1. In Mount Elbrus 1890-95, oil on canvas, Tretyakov Gallery, Russia
2. Mount Elbrus 1900, oil on canvas, Tretyakov Gallery, Russia
3. Mount Elbrus 1908, oil on canvas, Tretyakov Gallery, Russia 

The paintings

What is particularly remarkable in this painting of Mount Elbrus is the way in which the conical summit was painted. Looking at the paintings n°1 and n°3, one understands better why the ancient Greeks called that Strobilos, which means 'pine cone' or 'a twisted object'.  The light which bathes these representations of the Elbrus is, as usual in most of the paintings representing it, unreal, as if to emphasize the sacredness of this mountain where Zeus himself chained Prometheus.

The mountain
Mount Elbrus (Эльбру́с) also called  Karachay-Balkar (Минги таy) is the highest mountain in Europe, and the seven highest summit in the world.  The seven summit (which are obviously 8, with  2 in Europe !) are : Mount Everest (8,848m), Aconcagua (6,961m), Mt Denali or Mc Kinley (6,194m),  Kilimandjaro (5,895m), Mt Elbrus (5,642m), Vinson  Massif (4,892m), Mt Blanc (4,807m) and Mount Kosciuszko  (2,228m) in Australia.
Mount Elbrus should not be confused with the Alborz (also called Elburz) mountains in Iran, which also derive their name from the legendary mountain Harā Bərəzaitī in Persian mythology.
A dormant volcano, Elbrus forms part of the Caucasus Mountains in Southern Russia, near the border with Georgia. Elbrus has two summits, both of which are dormant volcanic domes. With its slightly taller west summit, the mountain stands at 5,642 metres (18,510 ft); the east summit is 5,621 metres (18,442 ft). The lower east summit was first ascended on 10 July 1829 by Khillar Khachirov, a Karachayguide for an Imperial Russian army scientific expedition led by General Emmanuel, and the higher in 1874 by an British expedition led by F. Crauford Grove and including Frederick Gardner, Horace Walker, and the Swiss guide Peter Knubel of St. Niklaus in the canton Valais.
While there are differing authorities on how the Caucasus are distributed between Europe and Asia, most relevant modern authorities define the continental boundary as the Caucasus watershed, placing Elbrus in Europe due to its position on the north side in Russia.
Mount Elbrus was formed more than 2.5 million years ago. The volcano is currently considered inactive. Elbrus was active in the Holocene, and according to the Global Volcanism Program, the last eruption took place about AD 50. Evidence of recent volcanism includes several lava flows on the mountain, which look fresh, and roughly 260 square kilometres (100 sq mi) of volcanic debris. The longest flow extends 24 kilometres (15 mi) down the northeast summit, indicative of a large eruption. There are other signs of activity on the volcano, including solfataric activity and hot springs. The western summit has a well-preserved volcanic crater about 250 metres (820 ft) in diameter.
The ancients knew the mountain as Strobilus, Latin for 'pine cone', a direct loan from the ancient Greek strobilos, meaning 'a twisted object' – a long established botanical term that describes the shape of the volcano's summit. Myth held that here Zeus had chained Prometheus, the Titan who had stolen fire from the gods and given it to ancient man – likely a reference to historic volcanic activity.
The Soviet Union encouraged ascents of Elbrus, and in 1956 it was climbed en masse by 400 mountaineers to mark the 400th anniversary of the incorporation of Kabardino-Balkaria, the Autonomous Soviet Socialist Republic where Elbrus was located.
From 1959 through 1976, a cable car system was built in stages that can take visitors as high as 3,800 metres (12,500 ft). There are a wide variety of routes up the mountain, but the normal route, which is free of crevasses, continues more or less straight up the slope from the end of the cable car system. Winter ascents are rare, and are usually undertaken only by very experienced climbers. Elbrus is notorious for its brutal winter weather, and summit attempts are few and far between. The climb is not technically difficult, but it is physically arduous because of the elevations and the frequent strong winds. The average annual death toll on Elbrus is 15–30, primarily due to "many unorganized and poorly equipped" attempts to summit the mountain. Since 1986, Mt. Elbrus has been incorporated into Prielbrusye National Park, one of the Protected areas of Russia.
In 1997 a team led by the Russian mountaineer Alexander Abramov took a Land Rover Defender to the summit of the East Peak, breaking into the Guinness Book of Records. The project took 45 days in total. They were able to drive the vehicle as high as the mountain huts at The Barrels (3,800 metres (12,500 ft)), but above this they used a pulley system to raise it most of the way. On the way down, a driver lost control of the vehicle and had to dive out.
The second was Kevin Cooney, and the third Patrick Healy.
Regular competitions began to take place since 2005 is a choice of two routes: the classic and extreme. In 2006, on the route of extreme glade Azau (2400 m) - the western summit of Elbrus (5642 m asl) Denis Urubko set a record by winning the tour time 3 hours 55 minutes 59 seconds.
The Pole Aleksandra Dzik won the female competition on this route, becoming both the first woman graduated from extreme gear.

The painter
The very important Russian artist Arkhip Kuindzhi (Архи́п Ива́нович Куи́нджиwas) was born in 1842 (1841?) in a very poor emigrants family from Greece, in Mariupol, Russian Empire (nowadays Ukraine) but spent his youth in the city of Taganrog.
Arkhip was six years old when he lost his parents and had no other choice than to work at a church building site or grazing domestic animals. He received the rudiments of an education from a Greek friend of the family who was a teacher and then went to the local school. During the five years from 1860 to 1865, Arkhip Kuindzhi worked as a retoucher in the photography studio of Simeon Isakovich in Taganrog. He tried to open his own photography studio, but without success. After that Kuindzhi left Taganrog for Saint Petersburg.
He studied painting mainly independently and at the St. Petersburg Academy of Arts (from 1868 and became a full member in 1893). He was co-partner of traveling art exhibition with a group of Russian realist artists who in protest to academic restrictions formed an artists'cooperative called the Society for Traveling Art Exhibitions (Peredvizhniki).
In 1872 the artist left the academy and worked as a freelancer. The painting On the Valaam Island was the first artwork which Pavel Tretyakov acquired for his art gallery. In 1873 Kuindzhi exhibited his painting The Snow which received the bronze medal at the International Art Exhibition in London in 1874. In the middle of the 1870s he created a number of paintings in which the landscape motif was designed for concrete social associations in the spirit of Peredvizhniki (Forgotten village, 1874; Chumatski path, 1875; both – in the Tretyakov Gallery).
In his mature period Kuindzhy aspired to capture the most expressive illuminative aspect of the natural condition. He applied composite receptions (high horizon, etc.), creating panoramic views. Using light effects and intense colors shown in main tones, he depicted the illusion of illumination (Evening in the Ukraine, 1876; Birch Grove, 1879; After a thunderstorm, 1879; all three are in the Tretyakov Gallery; Night on Dnepr, 1880 in the Russian Museum, St.Petersburg). His later works are remarkable for their decorative effects of color building.
In his later years Kuinji travelled widely. He was attracted to the Crimean and Caucasian mountains, snow-capped and lit up by the sun or moon (cf. the etudes Elbrus, Moonlight Night, Kazbek in the Evening, Patches of Moonlight, etc.).
Kuinji's artistic method involved a great deal of preparatory painted eludes and studies. In his studies he sought compositional expressiveness and harmonious colouring for the future painting. His etudes, on the other hand, which were painted both from nature and from impressions, were for him only one of the stages in the work, preliminary paintings which could later be reworked in the final process of creating a picture.
Kuindzhi lectured at the St. Petersburg Academy of Arts (Professor since 1892; professor-head of landscape workshop since 1894; but was fired in 1897 for support of students' protests). Among his students were artists such as Arkady Rylov, Nicholas Roerich the famous Painter of Himalayas mountains) , Konstantin Bogaevsky, and others. Kuindzhi initiated creation of the Society of Artists (1909; later – the Society was named after A.I. Kuindzhi).
Source:
Kuinszhi ' biography in Artroots

MOUNT VESUVIUS PAINTED BY ANDY WARHOL

ANDY WARHOL (1928-1987)

 Mount Vesuvius (1,281m - 4,203ft)
Italy

In  Vesuvius by Warhol, 1985, series of 18 paintings, oil on canvas

The Mount Vesuvius' Andy Warhol series

Showing Vesuvius erupting in a violent and dramatic explosion, Warhol saw Vesuvius for its fiery energy of past. Shown in a brilliant orange, Andy used schismatic lines to express its volcanic, radiating potential, streaking across a crimson atmosphere.

Andy Warhol left his beloved serigraphies and photographic manipulations to experiment something different for the first time in 1985, when he created the series 'Vesuvius by Warhol', 18 paintings that the artist dedicated to the Italian volcano.

The American pop-art icon portrayed the volcano in the 'catastrophic' act of eruption, which is immortalized at different hours of the day, from dawn to sunset. Thanks to the various chromatisms, as the artist explained in an interview "the volcanoes seemed to be painted just one minute after the eruption." A range of visions and feelings that are also conveyed by the black and white photography, which are Warhol's favourite colours and those easiest to remember.

In Vesuvius, Warhol wrestles the infamous volcano into a visually arresting icon of Amelio’s home city, dressing it up in the garish Pop aesthetic for which he made his name as an artist. Ostensibly, the work celebrates the sublime volatility of nature (hardly an untapped trope in Western art) but, this is Andy Warhol; he would hardly rehearse another’s aesthetics. Instead, Vesuvius falls in-line with the artist’s fixation with the mass-reproduction of culture through imagery, and it is imprinted upon this work as it was upon his silkscreens of criminals, car crashes and mid-century starlets.

Two centuries prior, in the context of Grand Tour art and ephemera circulating around Western Europe, Mount Vesuvius was very much an overexposed icon. In the 18th century, the British sent off their elite sons on the Grand Tour, or a cultural immersion vacation around the capitals of Europe, and visits to Mount Vesuvius and the Bay of Naples was a perrennial and highly popular destination. Like camera-toting tourists do now, these visitors found in maquettes, paintings and woodcuts of Vesuvius the best means to memorialize their stop in Naples. 

The mountain 

Mount Vesuvius (1,281 meters- 4,203 ft at present) is one of those legendary and mythic mountains  the Earth  paid regularly tribute. Monte Vesuvio in Italian modern langage or Mons Vesuvius in antique Latin langage is a stratovolcano in the Gulf of Naples (Italy) about 9 km (5.6 mi) east of Naples and a short distance from the shore. 

It is one of several volcanoes which form the Campanian volcanic arc. Vesuvius consists of a large cone partially encircled by the steep rim of a summit caldera caused by the collapse of an earlier and originally much higher structure.

Mount Vesuvius is best known for its eruption in AD 79 that led to the burying and destruction of the Roman antique cities of Pompeii, Herculaneum, and several other settlements. That eruption ejected a cloud of stones, ash, and fumes to a height of 33 km (20.5 mi), spewing molten rock and pulverized pumice at the rate of 1.5 million tons per second, ultimately releasing a hundred thousand times the thermal energy released by the Hiroshima bombing. At least 1,000 people died in the eruption. The only surviving eyewitness account of the event consists of two letters by Pliny the Younger to the historian Tacitus.

Vesuvius has erupted many times since and is the only volcano on the European mainland to have erupted within the last hundred years. Nowadays, it is regarded as one of the most dangerous volcanoes in the world because of the population of 3,000,000 people living nearby and its tendency towards explosive eruptions (said Plinian eruptions). It is the most densely populated volcanic region in the world.

Vesuvius was formed as a result of the collision of two tectonic plates, the African and the Eurasian. The former was subducted beneath the latter, deeper into the earth. As the water-saturated sediments of the oceanic African plate were pushed to hotter depths in the earth, the water boiled off and caused the melting point of the upper mantle to drop enough to create partial melting of the rocks. Because magma is less dense than the solid rock around it, it was pushed upward. Finding a weak place at the Earth's surface it broke through, producing the volcano.

he area around Vesuvius was officially declared a national park on June 5, 1995. The summit of Vesuvius is open to visitors and there is a small network of paths around the mountain that are maintained by the park authorities on weekends.

There is access by road to within 200 metres (660 ft) of the summit (measured vertically), but thereafter access is on foot only. There is a spiral walkway around the mountain from the road to the crater.

The first funicular cable car on Mount Vesuvius opened in 1880. It was later destroyed by the 1944 eruption. "Funiculì, Funiculà", a famous Neapolitan song with lyrics by journalist Peppino Turco set to music by composer Luigi Denza, commemorates its opening.