MONTE SORATTE PAINTED BY CAMILLE COROT

CAMILLE COROT  (1796-1875)

 Le Mont Soracte or Monte Soratte (691 m - 2,267 ft)

Italy

1. Vue du mont Soracte, 1826, Collection privée, France  

2. Le mont Soracte 1826-27,  Bayerische Staatsgemäldesammlungen, Munich, Germany 

3. Le mont Soracte 1826- 27, Musée d'art et d'histoire, Genève, Switzerland

The mountain 

Monte Soratte (latin: Mons Soracte or Sorax after Plinus the Elder) is a mountain ridge in the province of Rome, Italy.  The highest summit is 691 m (2,267 ft) above sea-level. The ridge is part of a 444-hectare (1,100 acre) Natural Reserve housing a variety of vegetation and fauna. It is also characterized by the so-called Meri, pits which can be up to 115 metres (377 ft) deep. 

Mount Soratte is part of the Apennines range.  It appears like a narrow, isolated limestone ridge with a length of 5.5 km (3.4 mi) and six peaks.  Located some 10 km (6.2 mi) south east of Civita Castellana and c. 45 km (28 mi) north of Rome, it is the sole notable ridge in the Tiber Valley. The nearest settlement is the village of Sant'Oreste.  Saint Orestes or Edistus, after whom the settlement is named, is said to have been martyred near Monte Soratte.

The area was used by the ancient Italic tribes (Sabines, Capenates, Faliscans and Etruscans) for the cult of the God Soranus or Dis Pater who became later Pluto.  Mount Soratte was mentioned by Horace ("Vides ut alta stet nive candidum Soracte?" Carm. i. 9), and Virgil, who stated that Apollo was its guardian deity.

The hermitage of St. Sylvester is just below the summit.  According to a legend, its church was founded by Pope Sylvester, who had taken refuge there to escape Constantine's persecution.  The church houses 14th and 15th century frescoes.  Four other hermitages are situated on the ridge.

Goethe mentioned the peak in Italian Journey, his diary of his travels through Italy from 1786–1788. : "Soracte stands out by itself in magnificent solitude. Probably this mountain is made of limestone and belongs to the Apennines."

References:

- Natural reserve of Mount  Soratte

- Freschi di San Silvestro

- The Hirpi Sorani and the Wolf Cults of Central Italy

The painter 

Jean-Baptiste-Camille Corot (1796-1875), French landscape and portrait painter as well as a printmaker in etching,  is a pivotal figure in landscape painting.  His vast output simultaneously refers the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism.

Camille Corot, no doubt attracted by the mythical aspect of Monte Soratte, painted it several times during his first stay in Italy between 1825 and 1830.  Three of these representations are published in this blog today; although all painted  between 1826 and 1827, they are very different from each other, they were painted at different times of the year ant different hours of the day as he used to do.  The first presented here, apparently painted during summertime, has an almost Cézanian appearance !

Indeed, with his parents' support, Corot followed the well-established pattern of French painters who went to Italy to study the masters of the Italian Renaissance and to draw the crumbling monuments of Roman antiquity.  A condition by his parents before leaving was that he paint a self-portrait for them, his first.  During  his stay in Italy, Corot completed over 200 drawings and 150 paintings !   

Corot learned little from the Renaissance masters (though later he cited Leonardo da Vinci as his favorite painter) and spent most of his time around Rome and in the Italian countryside.  The Farnese Gardens with its splendid views of the ancient ruins was a frequent destination, and he painted it at three different times of the day, like Monte Soratte.  The training was particularly valuable in gaining an understanding of the challenges of both the mid-range and panoramic perspective, and in effectively placing man-made structures in a natural setting.   He also learned how to give buildings and rocks the effect of volume and solidity with proper light and shadow, while using a smooth and thin technique.   During winter, he spent time in a studio but returned to work outside as quickly as weather permitted (the second Monte Soratte painting, with its grey light, was probably painted during winter. The intense light of Italy  particularly during summer time, posed considerable challenges to Corot  : "This sun gives off a light that makes me despair. It makes me feel the utter powerlessness of my palette." He learned to master the light and to paint the stones and sky in subtle and dramatic variation.

Of him Claude Monet exclaimed in 1897, "There is only one master here—Corot. We are nothing compared to him, nothing."  His contributions to figure painting are hardly less important; Degas preferred his figures to his landscapes, and the classical figures of Picasso pay overt homage to Corot's influence.

Historians have divided his work into periods, but the points of division are often vague, as he often completed a picture years after he began it. In his early period, he painted traditionally and "tight"—with minute exactness, clear outlines, thin brush work, and with absolute definition of objects throughout, with a monochromatic underpainting or ébauche.  After he reached his 50th year, his methods changed to focus on breadth of tone and an approach to poetic power conveyed with thicker application of paint; and about 20 years later, from about 1865 onwards, his manner of painting became more lyrical, affected with a more impressionistic touch. In part, this evolution in expression can be seen as marking the transition from the plein-air paintings of his youth, shot through with warm natural light, to the studio-created landscapes of his late maturity, enveloped in uniform tones of silver. In his final 10 years he became the "Père (Father) Corot" of Parisian artistic circles, where he was regarded with personal affection, and acknowledged as one of the five or six greatest landscape painters the world had seen, along with Hobbema, Claude Lorrain, Turner and Constable. In his long and productive life, he painted over 3,000 paintings.

Though often credited as a precursor of Impressionist practice, Corot approached his landscapes more traditionally than is usually believed.  Compared to the Impressionists who came later, Corot's palette is restrained, dominated with browns and blacks ("forbidden colors" among the Impressionists) along with dark and silvery green.  Though appearing at times to be rapid and spontaneous, usually his strokes were controlled and careful, and his compositions well-thought out and generally rendered as simply and concisely as possible, heightening the poetic effect of the imagery.  As he stated, "I noticed that everything that was done correctly on the first attempt was more true, and the forms more beautiful."

Corot's approach to his subjects was similarly traditional.  Although he was a major proponent of plein-air studies, he was essentially a studio painter and few of his finished landscapes were completed before the motif.  For most of his life, Corot would spend his summers travelling and collecting studies and sketches, and his winters finishing more polished, market-ready works.  For example, the title of his Bathers of the Borromean Isles (1865–70) refers to Lake Maggiore in Italy, despite the fact that Corot had not been to Italy in 20 years.  His emphasis on drawing images from the imagination and memory rather than direct observation was in line with the tastes of the Salon jurors, of which he was a member.

In the 1860s, Corot became interested in photography, taking photos himself and becoming acquainted with many early photographers, which had the effect of suppressing his painting palette even more in sympathy with the monochromic tones of photographs. This had the result of making his paintings even less dramatic but somewhat more poetic, a result which caused some critics to cite a monotony in his later work. Théophile Thoré wrote that Corot "has only a single octave, extremely limited and in a minor key; a musician would say. He knows scarcely more than a single time of day, the morning, and a single color, pale grey."  Corot responded: "What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones."

In his aversion to shocking color, Corot sharply diverged from the up-and-coming Impressionists, who embraced experimentation with vivid hues.

The works of Corot are housed in museums in France and the Netherlands, Britain, North America and Russia

References

- Corot Biography 

- Corot on Web museum 

- Jean-Baptiste-Camille Corot/Wikipedia page

MOUNT KOSCIUSZKO (AUSTRALIA) BY EUGENE VON GUERARD

EUGENE VON GUERARD  (1811-1901) 

Mount Kosciuszko (2, 228 m - 7,310 ft)

Australia

1.   In North-east View from the Northern Top of Mount Kosciuszko in 1863, Oil on canvas  

National Gallery of Australia

2.  In At the feet of Mr Kosciuszko in 1883,  oil on canvas, Private Collection, Australia

The mountain 

On the planet earth, there are two mountains named Mount Kosciuszko. One is located in Antarctica continent and the other in Australia (Oceania continent). 

Australia, Mount Kosciuszko (2,228 m - 7,310 ft) is a mountain located on the Main Range of the Snowy Mountains in Kosciuszko National Park, part of the Australian Alps National Parks and Reserves, in New South Wales  and is located west of Crackenback and close to Jindabyne.

Mount Kosciuszko is the highest mountain in Australia. Various measurements of the peak originally called Kosciuszko showed it to be slightly lower than its neighbour, Mount Townsend. The names of the mountains were swapped by the New South Wales Lands Department, so that Mount Kosciuszko remains the name of the highest peak of Australia, and Mount Townsend ranks as second.  When considering all of Oceania as a continent, Mount Kosciuszko is overshadowed by Puncak Jaya in Papua, Indonesia, also called Carstensz Pyramid. Different versions of the Seven Summits climbing challenge depend on which is chosen to be the "Australia" peak.

There are several native Aboriginal (Ngarigo) names associated with Mount Kosciuszko, with some confusion as to the exact sounds. These are Jagungal, Jar-gan-gil, Tar-gan-gil, Tackingal; however, all of them mean "Table Top Mountain."

Mount Kosciuszko was named by the Polish explorer Paul Edmund Strzelecki in 1840, in honour of the Polish national hero and hero of the American Revolutionary War General Tadeusz Kościuszko, because of its perceived resemblance to the Kościuszko Mound in Kraków. The spelling "Mount Kosciuszko" was officially adopted in 1997 by the Geographical Names Board of New South Wales, Australia. 

Climbing routes

- There is a road to Charlotte Pass, from which an 8-kilometre (5 mi) path leads to the summit. Anyone can walk to the top. Until 1977 it was possible to drive through Rawson Pass to within a few metres of the summit. The walking track to Mount Kosciuszko from Charlotte Pass is in fact that road, which was closed to public motor vehicle access due to environmental concerns. This track is also used by cyclists as far as Rawson Pass, where they must leave their bicycles at a bicycle rack and continue onto the summit track on foot.

- The peak may also be approached from Thredbo, which is a shorter 6.5 kilometres (4 mi), taking 3 to 3.5 hours for a round trip. This straightforward walk is supported by a chairlift all-year round. From the top of the chairlift there is a raised mesh walkway to protect the native vegetation and prevent erosion.

- Both tracks meet at Rawson Pass, at an elevation of 2,100 metres (6,900 ft) above sea level, from where it is about 1.6 kilometres (0.99 mi) to the summit. 

The peak and the surrounding areas are snow-covered in winter and spring (usually beginning in June and continuing until October or later). The road from Charlotte Pass is marked by snow poles and provides a guide for cross-country skiers and the track from Thredbo is easily followed until covered by snow in winter. 

Mount Kosciuszko 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 Mt Blanc (4,808m)

The Painter 

Johann Joseph Eugene von Guerard was an Austrian-born artist, active in Australia from 1852 to 1882. Known for his finely detailed landscapes in the tradition of the Düsseldorf school of painting, he is represented in Australia's major public galleries, and is referred to in the country as Eugene von Guerard.

In 1852 von Guerard arrived in Victoria, Australia, determined to try his luck on the Victorian goldfields. As a gold-digger he was not very successful, but he did produce a large number of intimate studies of goldfields life, quite different from the deliberately awe-inspiring landscapes for which he was later to become famous. Realizing that there were opportunities for an artist in Australia, he abandoned the diggings and was soon undertaking commissions recording the dwellings and properties of wealthy pastoralists.

By the early 1860s, von Guerard was recognized as the foremost landscape artist in the colonies, touring Southeast Australia and New Zealand in pursuit of the sublime and the picturesque.  He is most known for the wilderness paintings produced during this time, which are remarkable for their shadowy lighting and fastidious detail.  Indeed, his View of Tower Hill in south-western Victoria was used as a botanical template over a century later when the land, which had been laid waste and polluted by agriculture, was systematically reclaimed, forested with native flora and made a state park. The scientific accuracy of such work has led to a reassessment of von Guerard's approach to wilderness painting, and some historians believe it likely that the landscapist was strongly influenced by the environmental theories of the leading scientist Alexander von Humboldt. Others attribute his 'truthful representation' of nature to the criterion for figure and landscape painting set by the Düsseldorf Academy.

In 1866 his Valley of the Mitta Mitta was presented to the National Gallery of Victoria in Melbourne; in 1870 the trustees purchased his Mount Kosciusko shown in this article was titled "Northeast view from the northern top of Mount Kosciusko", which is actually  "from Mount Townsend". 

In 2006, the City of Greater Geelong purchased his 1856 painting View of Geelong for A$3.8M. His painting, Yalla-y-Poora, is in the Joseph Brown Collection on display at the National Gallery of Victoria.  The State Library of New South Wales in Sydney holds an extensive collection of working sketchbooks by Eugene von Guerard, as well as larger drawings and paintings and a diary. The sketchbooks cover regions as diverse as Italy and Germany, Tasmania, New South Wales, and of course, Victoria.

In 1870 von Guerard was appointed the first Master of the School of Painting at the National Gallery of Victoria, where he was to influence the training of artists for the next 11 years. His reputation, high at the beginning of this period, had faded somewhat towards the end because of his rigid adherence to picturesque subject matter and detailed treatment in the face of the rise of the more intimate Heidelberg School style. Amongst his pupils were Frederick McCubbin and Tom Roberts. Von Guerard retired from his position at the National Gallery School the end of 1881 and departed for Europe in January 1882. In 1891 his wife died. Two years later, he lost his investments in the Australian bank crash and he lived in poverty until his death in Chelsea, London, on 17 April 1901.

LES JUMEAUX - CASTOR & POLLUX BY FREDERIC GADMER

FREDERIC GADMER  (1878-1954)

Les Jumeaux - Castor (4, 233m-13,888ft) et Pollux (4, 092m-13,425ft) 

Switzerland -  Italy border  

Depuis le Gornergrat - Autochrome Lumière, 1921

Musée départemental Albert-Khan, Paris, France 

The mountains

Les Jumeaux (The Twins) are made  - as the name indicates clearly enough -   of two almost identical peaks of theValais Alps or Pennine Alps : Castor (4,223 meters - 13,888 ft)) in Italian Punta Castore and Pollux (4, 092 meters - 13,425ft) north-northwest. Castor is located between Breithorn and Mont Rose, Italy, just south of the Swiss- Italian border. The first ascent took place August 23, 1861.

The twins Castor and Pollux are separated by Zwillingsjoch (Italian: Passo di Verra, 3845 m).

Both peaks are so named in reference to the Dioscuri in Greek mythology, Castor and Pollux, sons of Zeus. The Greeks were not unanimous about Castor's origin. For some, he was the son of Leda and her husband Tyndareus. Conceived on the same night, Castor and Pollux were twin brothers, but Pollux, son of Zeus, was a semi-god, while Castor was mortal. For others, Castor was a son of Zeus as his brother.

The celebrity of the twin brothers Castor and Pollux  is mainly due to a dispute that took place between Castor and his cousin Idas, during which Idas strikes mortally Castor. Pollux takes revenge by killing Lynceus, brother of Idas. Zeus intervenes in the dispute and Idas blasts of lightning. But Pollux, inconsolable after the death of his brother, asked his father Zeus to remove him immortality to join his brother in the kingdom of the dead. Touched by so much love, Zeus left his son the opportunity to choose: stay forever young and live among the gods or pass in turn one day in the realm of the dead with Castor and one day in the kingdom of the gods. Yet if he chooses the second option, he would grow old and eventually die. Without any hesitation, Pollux chose the second alternative and lived with his brother between the two kingdoms.

Climbing route : From the refuge, take north on the glacier Felik passing to the right of Felikjoch (4,061m). From here follow the southeast snow to the summit of mount Castor. From the summit follow the ridge towards the secondary top (4,205 m- 13,796 ft), and the western slope joining the pass twins or Zwillingsjoch (3,845 m - 12,615 ft). From the pass, go up the southeast ridge to his left on mixed terrain to reach the summit of Pollux. From the summit the descent is via the southwest ridge on the Verra glacier from which we come to shelters guides Ayas and Mezzalama. Join St Jacques.

The artist

Frédéric Georges Gadmer was born in 1878 in France into a Protestant family;  his father, Leon, son of Swiss émigré, was confectioner, and his mother, Marie Georgine, was unemployed. Before World War II, he follows his family in Paris and works as a photographer for the house Vitry, located Quai de la Rapée. As an heliogravure company, it performs work for the sciences and the arts, travel and education. In 1898 Gadmer completed his military service as a secretary to the staff then recalled in 1914 at the time of mobilization. In 1915, he joined the newly created  "Photographic Section of the Army" and carried pictures on the front, in the Dardanelles, with General Gouraud, then in Cameroon. In 1919, at age 41, he was hired as a photographer byAlbert Khan for his project called "Archives of the Planet". He finds there his comrades of   "the film and photographic section of the army" Paul Castelnau and Fernand Cuville. Soon as he arrived, he made reports in Syria, Lebanon, Turkey and Palestine. It was the first to make a color portrait of Mustafa Kemal, leader of the Young Turks. In 1921, he returned to the Levant with Jean Brunhes, the scientific director of the Archives of the Planet. The same year, he attended General Gouraud, appointed High Commissioner in Syria. Operator and prolific photographer, specializing in distant lands and landscapes, it covers Iraq, Persia, Afghanistan, Algeria and Tunisia. In 1930, he accompanied Father Francis Aupiais in Dahomey. He also works in Europe. In 1931, at the request of Marechal Lyautey, he photographies the Colonial Exhibition. It is one of the last person to leave the  "Archives of the Planet" threatened by the Albert Kahn's bankruptcy in 1932. He then worked at the famous french newspaper L'Illustration and carries postcards for Yvon. He died in Paris, unmarried, in 1954 and is buried in Saint-Quentin, as his parents.

Reference: 

Frédéric Gadmer in the  Médiathèque Albert Kahn

About the Autochrome Lumière Photos

The autochrome is a photographic reproduction of process colors patented December 17, 1903 by Auguste and Louis Lumière  french brothers. This is the first industrial technique of photography colors, it produces positive images on glass plates. It was used between 1907 and 1932 approximately an particularly in many pictures of the World War I. A important number of photographs of mountains and landscapes around the world was made with this technique, particularly in the for  the Project "The archives of the planet" by Albert Kahn. 

MOUNT JEFFERSON (NH) PAINTED BY HIPPOLYTE GARNIER

HIPPOLYTE GARNIER  (1802-1855)

 Mount Jefferson  (1,741m- 5,712ft) 

 United States of America (New Hampshire)

 1. Seen from Mount Washington  after William Bartlett engraving, 1838

The mountain 

There are 13 mountains in USA called Mont Jefferson or Jefferson Mountain !  This a way to pay tribute to Thomas Jefferson (1743-1826), american Founding Father, the principal author of the Declaration of Independence (1776) and the Third President elected (1801-1809).  

Two Mount Jefferson are located in Virginia, and others all over the country: in South Carolina, North Carolina, Oregon, New York, Nevada, Montana, Maine, Massachusetts, Idaho, Arkansas and New Hampshire. 

The mount Jefferson (1,741 m- 5,712 ft) shown here is located in New Hampshire (Coos County) and is the third highest mountain  in the state. It is is part of the Presidential Range of the White Mountains. Mount Jefferson is flanked by Mount Adams (to the northeast) and Mount Clay (to the south).

The mountain has several interesting features, making it a popular hike. Two distinct ridges lead to its summit: Ridge of the Caps and Castle Ridge. The mountain is surrounded by the three dramatic glacial cirques of Jefferson Ravine, Castle Ravine, and the Great Gulf. Finally, Monticello Lawn is a large expanse of alpine sedge and rush near the otherwise talus-covered summit cone. When viewed from the Mount Washington Auto Road, Jefferson features an arrow-shaped bald patch pointing to its summit.

Mount Jefferson has a direct ascent along the Caps Ridge Trail, whose base, Jefferson Notch, is the highest point of any public road in New Hampshire at 3,009 feet (917 m). This route, gaining only 2,700 feet (823 m) vertically to the summit, results in it having the least distance of ascent of any Presidential mountain (about 2.5 miles). However, climbing over the "caps" involves some exposed scrambling and can be steep and challenging at times.

References : 

Mount Jefferson in PeakBagger 

AMC Hiking Mount Jefferson 

The painter 

Hippolyte-Louis Garnier is a french painter and most famous engraver in his country. He is the co-founder with his brother Auguste, of the "Editions Garnier Frères" (sometimes  "Garnier et Frères", or simply  'Editions Garnier ", later  "Garnier Flammarion"), a company which lasted from 1833 to 1983. Hu opened as well a famous bookstore in Paris.

As a well known engraver, Hippolyte Garnier - who had never been to America - came into contact in 1838 with Victor Grailly (1804-1889) who made many copies of American landscapes by William Bartlett "in the manner of" masters Dutch as Ruysdael. Thus he engraved this view of Mount Jefferson, selected primarily for his journalistic interest and aesthetic qualities of materials exploration of the planet.

In 1847-48, The  Editions Garnier begins editing the  "Dictionnaire national" (of the french langage) Louis-Nicolas Bescherelle, first with Simon Editor, then alone. In 1893, The Garnier brothers launched their famous  "Classiques jaunes Garnier", the first works with critical apparatus at low price that will experience a huge success. Nearly a century later, in 1983, the publishing house Editions Garnier closes, the fund being taken by the Presses de la Cité. 

THE KILIMANDJARO PAINTED BY ROBERT MC LELLAN-SIM

ROBERT MC LELLAN-SIM  (1907-1985)

View of Mount Kilimandjaro (5,885m - 19,340ft) 

Tanzania

painted in 1950 

The mountain 

Mount Kilimanjaro  is a dormant volcano in Tanzania composed of three volcanic cones, "Kibo", "Mawenzi", and "Shira.  The Kilimandjaro is the highest mountain in Africa, and rises approximately 4,900 m (16,000 ft) from its base to 5,895 metres (19,341 ft) above sea level. The first recorded ascent to the summit of the mountain was by Hans Meyer and Ludwig Purtscheller in 1889. The mountain is part of the Kilimanjaro National Park and is a major climbing destination. The mountain has been the subject of many scientific studies because of its shrinking glaciers, especially since 2001.

The origin of the name "Kilimanjaro" is not precisely known, but a number of theories exist. European explorers had adopted the name by 1860 and reported that "Kilimanjaro" was the mountain's Kiswahili name. The 1907 edition of The Nuttall Encyclopædia also records the name of the mountain as "Kilima-Njaro". Johann Ludwig Krapf wrote in 1860 that Swahilis along the coast called the mountain "Kilimanjaro". Although he did not support his claim, he claimed that "Kilimanjaro" meant either "mountain of greatness" or "mountain of caravans". Under the latter meaning, "Kilima" meant "mountain" and "Jaro" possibly meant "caravans".
Jim Thompson claimed in 1885, although he also did not support his claim, that the term Kilima-Njaro "has generally been understood to mean" the Mountain (Kilima) of Greatness (Njaro). "Though not improbably it may mean the "White" mountain.
"Njaro" is an ancient Kiswahili word for "shining".
Others have assumed that "Kilima" is Kiswahili for "mountain".
In the 1880s, the mountain became a part of German East Africa and was called "Kilima-Ndscharo" in German following the Kiswahili name components.
On 6 October 1889, Hans Meyer reached the highest summit on the crater ridge of Kibo. He named it "Kaiser-Wilhelm-Spitze" ("Kaiser Wilhelm peak").That name apparently was used until Tanzania was formed in 1964,] when the summit was renamed "Uhuru", meaning "Freedom Peak" in Kiswahili.
Climbing history :
- In August 1861, the Prussian officer Baron Karl Klaus von der Decken accompanied by English geologist R. Thornton made a first attempt to climb Kibo but "got no farther than 8,200 feet (2,500 m) owing to the inclemency of the weather."
- In December 1862, von der Decken tried a second time together with Otto Kersten. They reached a height of 14,000 feet (4,300 m).
- In August 1871, missionary Charles New became the "first European to reach the equatorial snows" on Kilimanjaro at an elevation of slightly more than 13,000 feet (4,000 m).
- In June 1887, the Hungarian Count Sámuel Teleki and Austrian Lieutenant Ludwig von Höhnel made an attempt to climb the mountain. Approaching from the saddle between Mawenzi and Kibo, Höhnel stopped at 4,950 meters (16,240 ft), but Teleki pushed through until he reached the snow at 5,300 meters (17,400 ft).
- Later in 1887 during his first attempt to climb Kilimanjaro, the German geology professor Hans Meyer reached the lower edge of the ice cap on Kibo, where he was forced to turn back because he lacked the equipment needed to handle the ice.The following year, Meyer planned another attempt with Oscar Baumann, a cartographer, but the mission was aborted after the pair were held hostage and ransomed during the Abushiri Revolt.
- In the autumn of 1888, the American naturalist Dr. Abbott and the German explorer Otto Ehrenfried Ehlers approached the summit from the northwest. While Abbott turned back earlier, Ehlers at first claimed to have reached the summit rim but, after severe criticism of that claim, later withdrew it.
- In 1889, Meyer returned to Kilimanjaro with the Austrian mountaineer Ludwig Purtscheller for a third attempt. The success of this attempt was based on the establishment of several campsites with food supplies so that multiple attempts at the top could be made without having to descend too far.[ Meyer and Purtscheller pushed to near the crater rim on October 3 but turned around exhausted from hacking footsteps in the icy slope. Three days later, on Purtscheller's fortieth birthday, they reached the highest summit on the southern rim of the crater. They were the first to confirm that Kibo has a crater.  On October 18, they reascended Kibo to enter and study the crater, cresting the rim at Hans Meyers Notch. In total, Meyer and Purtscheller spent 16 days above 15,000 feet (4,600 m) during their expedition.  They were accompanied in their high camps by Mwini Amani of Pangani, who cooked and supplied the sites with water and firewood.
- The first ascent of the highest summit of Mawenzi was made on 29 July 1912, by the German climbers Edward Oehler and Fritz Klute, who christened it Hans Meyer Peak. Oehler and Klute went on to make the third-ever ascent of Kibo, via the Drygalski Glacier, and descended via the Western Breach.
- In 1989, the organizing committee of the 100-year celebration of the first ascent decided to award posthumous certificates to the African porter-guides who had accompanied Meyer and Purtscheller. One person in pictures or documents of the 1889 expedition was thought to match a living inhabitant of Marangu, Yohani Kinyala Lauwo. Lauwo did not know his own age.  Nor did he remember Meyer or Purtscheller, but he remembered joining a Kilimanjaro expedition involving a Dutch doctor who lived near the mountain and that he did not get to wear shoes during the climb.  Lauwo claimed that he had climbed the mountain three times before the beginning of World War I.  The committee concluded that he had been a member of Meyer's team and therefore must have been born around 1871.  Lauwo died on 10 May 1996, 107 years after the first ascent, but now is sometimes even suggested as co-first-ascendant of Kilimanjaro.
- The fastest ascent-descent has been recorded by the Swiss-Ecuadorian mountain guide Karl Egloff , who ran to the top and back in 6 hours and 42 minutes on 13 August 2014. Previous records were held by Spanish mountain runner Kílian Jornet on 29 September 2010) and by Tanzanian guide Simon Mtuy  on 22 February 2006.
- The female ascent record is held by Anne-Marie Flammersfeld. On 27 July 2015, she climbed to the summit in 8 hours, 32 minutes via the Umbwe Route, which is about 30 kilometres (19 mi) long. Born in Germany but living in Switzerland, she broke the record of Britain's Becky Shuttleworth who climbed to the summit in 11 hours, 34 minutes on 20 September 2014.
- Wheelchair-bound Bernard Goosen scaled Kilimanjaro in six days in 2007, while in 2012 Kyle Maynard, who has no forearms or lower legs, crawled unassisted to the summit of Mount Kilimanjaro.

The Kilimandjaro  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 seven summit (which are obviouly 8 !) 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.
References:
- Mount Kimandjaro National Park
- Wikipedia Kilimandjaro 

The painter 

Robert McLellan-Sim (also known as RMS) was a prolific artist, and during his time in East Africa (he travelled throughout Kenya, Uganda, Tanganyika and Zanzibar) he completed as many as 40 paintings a year. His work was in great demand, and over a period of some fifteen years he held ten One Man Exhibitions, mostly in Kenya, but at least one in England while on leave. 

His work was purchased by many eminent people and was extremely popular as an official gift or a farewell present. The Colony of Kenya presented a McLellan-Sim painting to HM The Queen on the occasion of her Coronation in 1953, and HM The Queen Mother was presented with another to commemorate her Visit to Kenya in 1959. Many a departing dignitary at the time of independence received a McLellan-Sim painting as a farewell gift. Both Jake Fletcher and Amoeba Walker took McLellan-Sim works of art home with them to England when they left the Prince of Wales School. The Kenya Regiment presented a McLellan-Sim painting to Sir Patrick Renison as their departing Commander-in -Chief when he retired as Governor of Kenya in 1961.
RMS was a successful commercial artist, with his clients including the East African Tobacco Company, the East African Standard and the Uganda Tourist Board. His public works included the murals for the Kenya Agricultural Stand in the Rhodes Centenary Exhibition of 1952 in Bulawayo, the Nakuru Railway Station murals of 1957 and the 1960 mural for the National Assembly Building in Nairobi.
RMS designed the 1954 blue 10 shilling postage stamp depicting the Royal Lodge at Sagana, a signed mint copy of which has been presented by the McLellan-Sim family to The British Library. This is the one that caught my eye and got me started on this article in the first place.
References
Old Cambrian Society

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. "