GUNUNG SUMBING BY FRANZ-WILHELM JUNGHUHN

FRANZ-WILHELM  JUNGHUHN (1809-1864) 

Gunung Sumbing  or Mount Sumbing (3,371m -11,060 ft) 

Indonesia  (Java)

In 1853-1854  - Engraving shown in Leiden University Library

The mountain 

Gunung Sumbing or Gurung Sumbing  (meaning Mount Sumbing) is a prominent 3,371 m (11,060 ft) high stratovolcano that lies across a 1400-m-high saddle from symmetrical Sundoro (3,136m) volcano in central Java. Prominent cones are located on the N and SE flanks, which is somewhat more dissected than Sundoro. An 800-m-wide horseshoe-shaped summit crater breached to the NE is partially filled by a lava dome that fed a lava flow down to 2400 m elevation. Emplacement of the dome followed the eruption of extensive pyroclastic flows down the NE flank. 

The only report of historical activity, in about 1730 CE, may have produced the small phreatic craters found at the summit. 

The announcement of an eruption in the Smithsonian/USGS Weekly Volcanic Activity Report (30 July-5 August 2008) was later found to be false. The Darwin Volcanic Ash Advisory Center (VAAC) noted that a pilot reported an eruption plume from Sumbing on 1 August 2008. The plume allegedly rose to an altitude of 4.9 km and drifted W. However, ash was not identified on satellite imagery. Center of Volcanology and Geological Hazard Mitigation (CVGHM) observers at the local observatory saw only non-eruptive processes at the volcano, and they noted brush fires in September and October. A common problem in this active region occurs when drifting plumes become linked to the wrong volcano. After discussing the field observations, both Darwin VAAC and Indonesia's CVG

M concluded the report was in error.  Ashes was not identified on satellite imagery.

The artist 

Friedrich Franz Wilhelm Junghuhn was a German-Dutch botanist and geologist, who studied medicine in Halle and in Berlin from 1827 to 1831, meanwhile publishing  (1830)a seminal paper on mushrooms in Limnaea. 

Junghuhn settled on Java, where he made an extensive study of the land and its people. 

He discovered the Kawah Putih crater lake south of Bandung in 1837.

 He published extensively on his many often highly adventurous expeditions and his scientific analyses.  Among his works is an important description and natural history in many volumes of the volcanoes of Java, Bijdragen tot de geschiedenis der vulkanen in den Indischen Archipel (1843). 

He completed Die Topographischen und Naturwissenschaftlichen Reisen durch Java (Topographic and Scientific Journeys in Java) in 1845 and a first anthropological and topographical study of Sumatra, Die Bättalander auf Sumatra (Batak lands of Sumatra). in 1847.

In 1849, ill health forced his return to the Netherlands.  While in the Netherlands, Junghuhn began work on a four volume treatise published in Dutch and translated into German between 1850 and 1854: Java, deszelfs gedaante, bekleeding en inwendige struktuur (in German: Java, seine Gestalt, Pflanzendecke, und sein innerer Bau). Junghuhn was an avid humanist and socialist. In the Netherlands he published anonymously his free-thinking manifesto Licht- en Schaduwbeelden uit de Binnenlanden van Java (Images of Light and Shadow from Java's interior) between 1853 and 1855. The work was controversial, advocating socialism in the colonies and fiercely criticizing Christian and Islamic proselytization of the Javanese people.   Junghuhn instead wrote of his preference for a form of Pandeism (pantheistic deism), contending that God was in everything, but could only be determined through reason.  The work was banned in Austria and parts of Germany for its "denigrations and vilifications of Christianity", but was a strong seller in the Netherlands where it was first published pseudonymously.  It was also popular in colonial Indonesia, despite opposition from the Dutch Christian Church there. 

Recovered from his ills, Junghuhn returned to Java in 1855. Highly interested in botany and its practical applications, he  became embroiled in a bitter and extended controversy about the effectiveness of Cinchona species in the treatment of malaria.  This controversy was conducted in public and in print with open letters to and demands on Het Natuurkundig Genootschap; part of this exchange of minds can be followed in Natuurkundig Tijdschrift voor Nederlandsch Indië from 1862 onwards.  At his direction massive plantation of Chincocina was carried out in Java, making it leading producer of Kina (Chinocina bark). 

He remained on Java until his death from liver disease in 1864.  On his deathbed in his house near Lembang on the slopes of the volcano Tangkuban Perahu just north of Bandung, Java,  it is  said that Junghuhn asked the doctor to open the windows, in order to say goodbye to the mountains that he loved. 

In Lembang there is a small monument to his memory in a grassy square named after him planted with some of his favorite trees among which the Cinchona. A minor item of trivia playing into polemical discussions of Junghuhn is his surname, literally translated as "young chicken".

The plants Cyathea junghuhniana and Nepenthes junghuhnii are named after Franz Junghuhn.

ISOLATION PEAK PAINTED BY LAWREN S. HARRIS

     

  

 

LAWREN S. HARRIS  (1885–1970)  

Isolation peak (3,983 m - 13,067 ft)

United States of America

                                                                    1. painted in 1930 

 2.  painted between 1925  
3.  painted between 1925 and 1930 

The painter 
Lawren Stewart Harris, (1885–1970) was a leading landscape canadian painter, imbuing his paintings with a spiritual dimension. An inspirer of other artists, he was a key figure in the Group of Seven and gave new vision to representations of the northern Canadian landscape. During the 1920s, Harris's works became more abstract and simplified, especially his stark landscapes of the Canadian north and Arctic.  He also stopped signing and dating his works so that people would judge his works on their own merit and not by the artist or when they were painted.
In 1924, a sketching trip with A.Y. Jackson to Jasper National Park in the Canadian Rockies marked the beginning of Harris' mountain subjects, which he continued to explore with annual sketching trips until 1929, exploring areas around Banff National Park, Yoho National Park and Mount Robson Provincial Park. In 1930, Harris went on his last extended sketching trip, travelling to the Arctic aboard the supply ship SS. Beothic for two months, during which time he completed over 50 sketches.  "We are on the fringe of the great North and its living whiteness, its loneliness and replenishment, its resignations and release, tis call and answer, its cleansing rhythms. It seems that the top of the continent is a source of spiritual flow that will ever shed clarity into the growing race of America."
(Lawren S. Harris, 1926)
For Harris, art was to express spiritual values as well as to represent the visible world. North Shore, Lake Superior (1926), an image of a solitary weathered tree stump surrounded by an expanse of dramatically lit sky, effectively evokes the tension between the terrestrial and spiritual.
The resulting Arctic canvases that he developed from the oil panels marked the end of his landscape period, and from 1935 on, Harris enthusiastically embraced abstract painting. Several members of the Group of Seven later became members of the Canadian Group of Painters including Harris, A. J. Casson, Arthur Lismer, A. Y. Jackson, and Franklin Carmichael.
From 1934 to 1937, Harris lived in Hanover, New Hampshire, where he painted his first abstract works, a direction he would continue for the rest of his life. In 1938 he moved to Sante Fe, New Mexico, and helped found the Transcendental Painting Group, an organization of artists who advocated a spiritual form of abstraction.
In 1969, he was made a Companion of the Order of Canada.
Harris died in Vancouver in 1970, at the age of 84, as a well-known artist. He was buried on the grounds of the McMichael Canadian Art Collection, where his work is now held.
On November 26, 2015 his painting Mountain and Glacier was auctioned for $3.9 million at a Heffel Fine Art Auction House auction in Toronto, breaking the previous record for the sale of one of Harris's works.
In 2016 a film about Harris's life, Where the Universe Sings, was produced by TV Ontario. It was created by filmmaker Peter Raymont and directed by Nancy Lang.
Reference
- Lawren S. Harris biography in  National Gallery of Canada notice


The mountain 
Residing far away from just about everywhere, the well-named Isolation Peak (3,983 m - 13,067 ft) occupies some prime terrain at the southern end of the great Rocky Mountain National Park, near Georgetown, Colorado, United States. Based on peakery data, it ranks as the 606th highest mountain in Colorado and the 848th highest mountain in the United States.
 For now at least, Isolation's vast summit view will stay her own, reserved for enduring souls that love solitude and long for even the obscure summits of Rocky Mountain National Park. So, if you like sacred places, then see for yourself the unique views Longs Peak, Mount Alice, Paradise Park and the pristine Fifth Lake area of East Inlet Basin. Most of all, go get Isolated!
The officially named Isolation Peak resides directly on the Continental Divide, a few miles south of Mount Alice and a few miles north of Ogalalla Peak. Its rocky summit towers over four different drainages, two west facing watersheds, (East Inlet & Paradise Park) and another two that face east (Thunder Lake & Frigid Lake.)
The west side of Isolation Peak harbors some of Colorado's most pristine land. Paradise Park is a designated Research Natural Area that is used for scientific investigations which requires the area to be unaltered by human intervention. Day hiking is allowed, but there are no maintained trails and camping is not allowed. The reclusive Fifth Lake area is another distant place protected by another long 8-mile approach.
From the Divide, the eastern aspects of Isolation Peak are named Wild Basin. Logistically, one can argue that Wild Basin is no more spectacular than the western aspects of East Inlet or Paradise Park. However, Wild Basin's proximity to Denver makes for a familiar, and well-named place. Protected by National Park status, the vast Wild Basin is known for its long approaches and extensive trail system. Many beautiful alpine lakes reside here, protected by miles of tree-laden landscape. Even further away and beyond those lakes resides obscure mountainous terrain. Peaks like Copeland Mountain, Ouzel Peak, Mount Alice, Tanima Peak and Chiefs Head, make up a natural boundary for Wild Basin. Wild Basin is within RMNP boundaries, if interested, you will need a camping permit to split your 17-mile adventure into two days. Attaining Wild Basin camping permits is not as difficult as you may think; just stay away from weekend crowds.
The nearest peaks are Mahana Peak, Eagles Beak, The Cleaver, Ouzel Peak, Tanima Peak, and Copeland Mountain. Isolation Peak belongs to the Rocky Mountain National Park Peak Challenge peak list. See the Isolation Peak map, 3D fly around, and the Isolation Peak photos to get a better sense of the mountain.
Climbing 
Isolation Peak is aptly named: far from any trailheads, it seems to be seldom climbed. The approach from the eastern side is from Wild Basin, about 13 miles south of Estes Park.
Camp below Bluebird Lake, about 5.5 miles from the trailhead,  to get an early start. Try to get a permit for the Upper Ouzel Creek campsite, which is said to be the prettiest in the area. Located above the trail in a stone perch, with the steep slopes of Copeland Mountain and a small waterfall across the valley, it is indeed a lovely site. The Indian Paintbrush and Columbine flowers are spectacular.
From Bluebird Lake, the route ascends a slope to the north, over fairly steep and often loose talus, to a relatively flat bench. Cairns mark a reasonably good route to the top.  The best way to avoid the bushes is to head to the west, directly down toward the creek flowing from Pipit Lake toward Bluebird Lake. Two small clearings are linked and lead to the creek area, which is free of the dense bushes; then follow the creek up toward Pipit Lake. Due to the global change of climate, many mountains are now free of snow, the cirque between Ouzel Peak and Isolation Peak (one route to the top) still has quite a bit of snow.
There is an other way, via Isolation Lake.
From the Pipit Lake area, head up to the right.  From here there is an obvious route up to the saddle between Isolation Peak, and Mahana Peak, then up the ridge to the summit. On can go up directly toward the summit, over fairly steep but mostly stable talus.
There is a PVC pipe for the summit register, but no register, just a Ziploc freezer bag containing several slips of paper.
It appears that this peak is not climbed often (perhaps a dozen times per year).  There are some dramatic views to Isolation Lake, to the south ridge of Isolation Peak, and especially to the west down to Fifth Lake, which has some angular rock formations. There is a steep drop-off on the west side of Isolation Peak.
References 
- Isolation peak notice in Summit.org
- Isolation peak notice in Peakery 
- Gordon S. Novak Jr. climbing route

COTOPAXI PAINTED BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826-1900)

Cotopaxi (5,897 m - 19,347 ft) 

Ecuador  

1. First famous painting in 1855. Smithsonian American Museum. 

2. Painted during the 1862 eruption - Detroit Institute of Art.  

The mountain 
Cotopaxi  is an active stratovolcano in the Andes Mountains,  which rises at 5,897 m - 19,347 ft and is located in the Latacunga canton of Cotopaxi Province, about 50 km (31 mi) south of Quito, and 33 km (21 mi) northeast of the city of Latacunga, Ecuador, in South America.  It is the second highest summit in Ecuador, reaching a height of 5,897 m (19,347 ft). It is one of the world's highest volcanoes. Many sources claim that Cotopaxi means "Neck of the Moon" in an indigenous language, but this is unproven. The mountain was honored as a "Sacred Mountain" by local Andean people, even prior to the Inca invasion in the 15th century.
Most of the time, Cotopaxi is clearly visible on the skyline from Quito and is part of the chain of volcanoes around the Pacific plate known as the Pacific Ring of Fire. It has an almost symmetrical cone that rises from a highland plain of about 3,800 metres (12,500 ft), with a width at its base of about 23 kilometres (14 mi). It has one of the few equatorial glaciers in the world, which starts at the height of 5,000 metres (16,400 ft). At its summit, Cotopaxi has an 800 X 550 m wide crater which is 250 m deep. The crater consists of two concentric crater rims, the outer one being partly free of snow and irregular in shape. The crater interior is covered with ice cornices and rather flat. The highest point is on the outer rim of the crater on the north side.
The first recorded eruption of Cotopaxi was in 1534.  With 87 known eruptions since then, Cotopaxi is one of Ecuador's most active volcanoes.

The painter
Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes.
Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes.  Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases.  Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.
Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.
This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes,” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.
About the Cotopaxi paintings 
Church took two trips to South America, and stayed predominantly in Quito, Ecuador, the first in 1853 and the second in 1857. One trip was financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian polymath geographer Alexander von Humboldt's Cosmos (about “the Earth, matter, and space”) and his exploration of the continent in the early 1800s; Humboldt had challenged artists to portray the "physiognomy" of the Andes. After Humboldt’s Personal Narrative of Travels to the Equinoctial Regions of America was published in 1852, Church jumped at the chance to travel and study in his icon’s footsteps (literally, as he stayed in Humboldt’s old house) in Quito, Ecuador. When Church returned in 1857 he added to his landscape paintings of the area. After both trips, Church had produced four landscapes of Ecuador: The Andes of Ecuador (1855), Cotopaxi (1855), Cayambe (1858), The Heart of the Andes (1859), and Cotopaxi while erupting in 1862 (see above). The Heart of The Andesas week as the Cotopaxi paintings are precious and precise  documentation, scientific studies of every natural feature that exists in that area of the Andes. Every species of plant and animal is readily identifiable; even climatic zonation by altitude is delineated precisely.
In this way, Church pays a unique tribute to Humboldt (who inspired his journey) as well as maintains his Hudson River School roots. “Therefore instead of the fiery crimsons and oranges of his emotional crepuscular scenes, the palette here is comparatively restrained by Church's standards: quiet greens, blues, browns, ochres and subdued grayish purples of sky, stone, verdure and water in full, even daylight.” 

DENALI PAINTED BY SYDNEY LAURENCE

SYDNEY LAURENCE (1865-1940) 

Denali, ex Mount Mc Kinley ( 6,190 m - 20,310 ft)

United States of America (Alaska)

1. Denali and Tokositna River - The Anchorage Museum 

2. Denali painted in 1919 
  3. Denali painted in 1921
4.  Denali painted in 1923

5. Denali in August 1924

The mountain 

Denali (also known as Mount McKinley, see the Naming paragraph below)) is the highest mountain peak in North America, with a summit elevation of  6,190 m - 20,310 feet above sea level. Denali is the third most prominent and third most isolated peak after Mount Everest and Aconcagua.  Denali  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 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.

Located in the Alaska Range in the interior of the U.S. state of Alaska, Denali is the centerpiece of Denali National Park and Preserve.

Denali has two significant summits: the South Summit is the higher one, while the North Summit has an elevation of 19,470 ft (5,934 m) and a prominence of approximately 1,270 ft (387 m).  The North Summit is sometimes counted as a separate peak (see e.g., fourteener) and sometimes not; it is rarely climbed, except by those doing routes on the north side of the massif.

Five large glaciers flow off the slopes of the mountain. The Peters Glacier lies on the northwest side of the massif, while the Muldrow Glacier falls from its northeast slopes. Just to the east of the Muldrow, and abutting the eastern side of the massif, is the Traleika Glacier. The Ruth Glacier lies to the southeast of the mountain, and the Kahiltna Glacier leads up to the southwest side of the mountain.  With a length of 44 mi (71 km), the Kahiltna Glacier is the longest glacier in the Alaska Range.

About the naming 

The Koyukon Athabaskans who inhabit the area around the mountain have for centuries referred to the peak as Dinale or Denali. The name is based on a Koyukon word for "high" or "tall".  During the Russian ownership of Alaska, the common name for the mountain was Bolshaya Gora (Russian: Большая Гора, meaning Russian "big mountain)" which is the Russian translation of Denali.  It was briefly called Densmore's Mountain in the late 1880s and early 1890s after Frank Densmore, an Alaskan prospector who was the first European to reach the base of the mountain.

In 1896, a gold prospector named it McKinley as political support for then-presidential candidate William McKinley, who became president the following year. The United States formally recognized the name Mount McKinley after President Wilson signed the Mount McKinley National Park Act of February 26, 1917.  

In 1965, Lyndon B. Johnson declared the north and south peaks of the mountain the "Churchill Peaks", in honor of British statesman Winston Churchill.  The Alaska Board of Geographic Names changed the name of the mountain to Denali in 1975, which was how it is called locally.  However, a request in 1975 from the Alaska state legislature to the United States Board on Geographic Names to do the same at the federal level was blocked by Ohio congressman Ralph Regula, whose district included McKinley's hometown of Canton.

On August 30, 2015, just ahead of a presidential visit to Alaska, the Barack Obama administration announced the name Denali would be restored in line with the Alaska Geographic Board's designation. 

Climbing history

The first recorded attempt to climb Denali was by Judge James Wickersham in 1903, via the Peters Glacier and the North Face, now known as the Wickersham Wall. Because of the route's history of avalanche danger, it was not successfully climbed until 1963.

Famed explorer Dr. Frederick Cook claimed the first ascent of the mountain in 1906. His claim was regarded with some suspicion from the start, but was also widely believed. It was later proved false, with some crucial evidence provided by Bradford Washburn when he was sketched on a lower peak.

In 1910, four area locals – Tom Lloyd, Peter Anderson, Billy Taylor, and Charles McGonagall – known as the Sourdough Expedition, attempted to climb Denali despite a lack of climbing experience. The group spent approximately three months on the mountain. Their purported summit ascent day included carrying a bag of doughnuts each, a thermos of hot chocolate, and a 14-foot (4.2 m) spruce pole. Two of them reached the North Summit, the lower of the two, and erected the pole near the top. According to the group, the time they took to reach the summit was a total of 18 hours. Until the first ascent in 1913, their claims were disbelieved, in part due to false claims they had climbed both summits.

In 1912, the Parker-Browne expedition nearly reached the summit, turning back within just a few hundred yards of it due to harsh weather. Hours after their ascent, the Great Earthquake of 1912 shattered the glacier they had ascended.

The first ascent of the main summit of Denali came on June 7, 1913, by a party led by Hudson Stuck and Harry Karstens. The first man to reach the summit was Walter Harper, an Alaska Native. Robert Tatum also made the summit. Using the mountain's contemporary name, Tatum later commented, "The view from the top of Mount McKinley is like looking out the windows of Heaven!"   Stuck confirmed, via binoculars, the presence of a large pole near the North Summit; this report confirmed the Sourdough ascent, and today it is widely believed that the Sourdoughs did succeed on the North Summit. However, the pole was never seen before or since, so there is still some doubt. Stuck also discovered that the Parker-Browne party were only about 200 feet (61 m) of elevation short of the true summit when they turned back.

The mountain is regularly climbed today; in 2003, around 58% of climbers reached the top. But by 2003, the mountain had claimed the lives of nearly 100 mountaineers over time.[49] The vast majority of climbers use the West Buttress Route, pioneered in 1951 by Bradford Washburn,  after an extensive aerial photographic analysis of the mountain. Climbers typically take two to four weeks to ascend Denali.

The painter 

Sydney Mortimer Laurence was an American Romantic landscape painter and is widely considered one of Alaska's most important historical artists. Born in Brooklyn, New York, he studied at the Art Students League of New York.  He exhibited regularly by the late 1880s. He and his wife traveled to England, settling in 1889 in the English artists' colony of St. Ives, Cornwall from 1889 to 1898. over the next decade he exhibited at the Royal Society of British Artists and was included in the Paris Salon in 1890, 1894, and 1895, winning an award in 1894.

Suddently in 1903 or 1904, it appears that Laurence abandoned his family and came to Alaskan shich was quite a wild aerea.

Laurence was the first professionally trained artist to make Alaska his home. He moved to Alaska in 1904 for reasons still unknown. Records from 1907 show he lived in the village of Tyonek on the North Shore of Cook Inlet in Southcentral Alaska, about 60 miles from Ship Creek where Anchorage would begin years later.  Living the hard life of the pioneer prospector, he painted little in his first years in the then-District of Alaska, but between 1911 and 1914 he began to focus once again on his art.  He moved from Valdez to the nascent town of Anchorage in 1915 and by 1920 was Alaska's most prominent painter. 

Laurence painted Mount McKinley  at least 5 or 6 times all along his life, but it is image of Denali from the hills above the rapids of the Tokositna River, shown in this blog in n° 1, which  became his trademark. It is this image more than any other which personifies Laurence for his many admirers and collectors in Alaska and beyond. Laurence forged a uniquely personal style by applying the tonalist techniques he had learned in New York and Europe to the wilderness of the North. He, more than any other artist, defined for Alaskans and others the image of Alaska as "The Last Frontier."

Laurence painted as welle a variety of Alaskan scenes in his long and prolific career, among them sailing ships and steamships in Alaskan waters, totem poles in Southeast Alaska, dramatic headlands and the quiet coves and streams of Cook Inlet, cabins and caches under the northern lights, and Alaska Natives, miners, and trappers engaged in their often solitary lives in the northern wilderness.

In May 1927, Laurence married Jeanne Kunath, a French-born artist who had emigrated to the United States in 1920. He died in Anchorage on December 10, 1940.

Several places were named for Laurence in his adopted hometown. Laurence Court is a short street in the Bootleggers Cove neighborhood of Anchorage. Perhaps the most significant was the Sydney Laurence Auditorium, which sat downtown at the northwest corner of West Sixth Avenue and F Street. This structure was replaced during the 1980s by the Alaska Center for the Performing Arts in what Anchorage called "Project 80s", a large-scale civic improvement program carried out under mayors George M. Sullivan and Tony Knowles; now the Sydney Laurence theater is smallest of three stages at the Performing Arts Center.

Références 

- Sydney Laurence Biography - University of Alaska 

MAYON VOLCANO PAINTED BY FERNANDO AMORSOLO

 FERNANDO AMORSOLO (1882-1972) 

Mayon Volcano (2,463 m - 8,081 ft)  

Philippines (Luzon)

In Harvesting rice near Mayon, 1950, oil on canvas , Private collection 

The mountain 

Mayon, also known as Mayon Volcano or Mount Mayon, is an active stratovolcano in the province of Albay in Bicol Region, on the large island of Luzon in the Philippines. Renowned as the "perfect cone" because of its symmetric conical shape, the volcano and its surrounding landscape was declared a national park on July 20 of 1938, the first in the nation. It was reclassified a Natural Park and renamed as the Mayon Volcano Natural Park in 2000.[3] Local folklore refers to the volcano being named after the legendary princess-heroine Daragang Magayon.
Like other volcanoes around the Pacific Ocean, Mayon is a part of the Pacific Ring of Fire. It is on the southeast side of Luzon, close to the Philippine Trench, which is the convergent boundary where the Philippine Sea Plate is driven under the Philippine Mobile Belt. When a continental plate meets an oceanic plate, the lighter and thicker continental material overrides the thinner and heavier oceanic plate, forcing it down into the Earth's mantle and melting it. Superheated magma and gases may be forced through weaknesses in the continental crust caused by the subduction of the oceanic plate, and one such exit point is Mayon.
Mayon is the most active volcano in the Philippines, erupting over 49 times in the past 400 years. The first record of a major eruption was witnessed in February 1616 by Dutch explorer Joris van Spilbergen who recorded it on his log in his circumnavigation trip around the world. The first eruption for which an extended account exists was the six-day event of July 20, 1766.
The main eruptions are :
- February 1, 1814  the most destructive one) ;
- From July 6, 1881 until approximately August 1882 ;
- June 23, 1897 (VEI=4), which lasted for seven days of raining fire ;
- 1884 and 1993 eruptions ;
- 2006 eruption ;
- 2008 eruption ;
- 2009-2010 eruptions ;
- 2013 phreatic eruption :
-August 12 - September 18, 2014, earthquake events and 251rockfall events. 

The painter 
Fernando Cueto Amorsolo was one of the most important artists in the history of painting in the Philippines.Amorsolo was a portraitist and painter of rural Philippine landscapes. He is popularly known for his craftsmanship and mastery in the use of light. After graduating from the Univeajor influences on his work. Amorsolo set up his own studio upon his return to Manila and painted prodigiously during the 1920s and the 1930s. His Rice Planting (1922), which appeared on posters and tourist brochures, became one of the most popular images of the Commonwealth of the Philippines. Beginning in the 1930s, Amorsolo's work was exhibited widely both in the Philippines and abroad. His bright,optimistic, pastoral images set the tone for Philippine painting before World War II . Except for his darker World War II-era paintings, Amorsolo painted quiet and peaceful scenes throughout his career.

Amorsolo was sought after by influential Filipinos including Luis Araneta, Antonio Araneta and Jorge B. Vargas. Amorsolo also became the favourite Philippine artist of United States officials and visitors to the country. Due to his popularity, Amorsolo had to resort to photographing his works and pasted and mounted them in an album. Prospective patrons could then choose from this catalog of his works. Amorsolo did not create exact replicas of his trademark themes; he recreated the paintings by varying some elements.

His works later appeared on the cover and pages of children textbooks, in novels, in commercial designs, in cartoons and illustrations for the Philippine publications such The Independent, Philippine Magazine, Telembang, El Renacimiento Filipino, and Excelsior. He was the director of the University of the Philippine's College of Fine Arts from 1938 to 1952.

During the 1950s until his death in 1972, Amorsolo averaged to finishing 10 paintings a month. However, during his later years, diabetes, cataracts, arthritis, headaches, dizziness and the death of two sons affected the execution of his works. Amorsolo underwent a cataract operation when he was 70 years old, a surgery that did not impede him from drawing and painting.

After being confined at the St. Luke's Hospital in Quezon City for two months, Amorsolo died  at the age of 79 on April 24, 1972. The volume of paintings, sketches and studies of Amorsolo is believed to have reached more than 10,000 pieces. Amorsolo was an important influence on contemporary Filipino art and artists, even beyond the so-called "Amorsolo school." Amorsolo's influence can be seen in many landscape paintings by Filipino artists, including early landscape paintings by abstract painter Federico Aguilar Alcuaz.

In 2003, Amorsolo's children founded the Fernando C. Amorsolo Art Foundation, which is dedicated to preserving Fernando Amorsolo's legacy, promoting his style and vision, and preserving a national heritage through the conservation and promotion of his works.

2016 - Wandering Vertexes...
by Francis Rousseau 

LANDER'S PEAK PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT  (1830-1902) 

Lander's Peak (3,187 m - 10,456 feet)
United States of America (Wyoming)

In The rocky Mountain in 1863 - MET - New York 
and Fogg Museum Cambridge

The painting 
The Rocky Mountains, Lander's Peak is a landscape painted in 1863  by the German-American painter Albert Bierstadt. It is based on sketches made during Bierstadt's travels with Frederick W. Lander's Honey Road Survey Party in 1859. The painting shows Lander's Peak in the Wyoming Range of the Rocky Mountains, with an encampment of Native Americans in the foreground.
The landscape in the painting is not the actual landscape as it appears at Lander's Peak, but rather an ideal landscape based on nature, altered by Bierstadt for dramatic effect.
Bierstadt's painting hit a nerve with contemporary Americans, by portraying the grandeur and pristine beauty of the nation's western wilderness. It was a reference to the idea of Manifest Destiny, where the Rocky Mountains represented both natural beauty, and an obstacle to westward expansion.  In the words of historian Anne F. Hyde: "Bierstadt painted the West as Americans hoped it would be, which made his paintings vastly popular and reinforced the perception of the West as either Europe or sublime Eden."  At the same time, the Native Americans in the foreground gave the scene authenticity, and presented it as a timeless place, untouched by European hands.
Bierstadt was a shrewd self-promoter as well as a gifted artist, and this was the first of his paintings to be widely promoted with a single-picture exhibition, accompanied by a pamphlet, engravings and a tour.  Twelve hundred people were invited for the first exhibition of Landers Peak, and almost a thousand showed up.  The painting, with its ten-foot width, was intended both for exhibition halls and the homes of America's emergent millionaire class.  In 1865 it was purchased by British railway entrepreneur James McHenry for the (at the time) high price of $25,000.   Bierstadt later bought it back, and gave or sold it to his brother Edward, before it was eventually acquired for the Metropolitan Museum of Art in New York in 1907.
Comparisons were made between Lander's Peak and The Heart of the Andes, a contemporary painting by one of Bierstadt's main rivals in the landscape genre, Frederic Edwin Church.  The two works represented the two great mountain ranges spanning North and South America. At the New York Metropolitan Fair in 1864, held by the United States Sanitary Commission to raise money for the Union war effort, the two paintings were exhibited opposite each other.  Lander's Peak and The Heart of the Andes are still exhibited on opposite walls at their current location at the Metropolitan.
Most reviews of the painting were positive; one review called it "beyond question one of the finest landscapes ever painted in this country", adding, "Its artistic merits are in some respects unrivalled: and added to these it has the advantage of being a representative painting of a portion of the most sublime and beautiful scenery on the American Continent."  
The painting won a prize at the Exposition Universelle in Paris in 1867.
At the same time, there were also critical voices; in particular, some American Pre-Raphaelites found his brushwork wanting. One such critic complained that it would have been better "if the marks of the brush had, by dexterous handling, been made to stand for scrap and fissure, crag and cranny, but as it is, we have only too little geology and too much bristle."

The mountain 

Lander's Peak,  is a mountain with a summit of (3,187 m - 10,456 feet) in the Wyoming Range in modern-day Wyoming. The peak was named after Frederick W. Lander on Bierstadt's initiative, after Lander's death in the Civil War.  In one description of the painting, it is described as : "Sharply pointed granite peaks and fantastically illuminated clouds float above a tranquil, wooded genre scene."  There are not a lot of informations about this peak, which is only the second highest peak of the Wyoming range, but was made quite famous buy Bierstadt painting.
The Wyoming Range is a mountain range located in west-central Wyoming. It is a range of the Rocky Mountains that runs north-south near the western edge of the state. Its highest peak is Wyoming Peak, which stands at (3,470 m - 11,383 feet) above sea-level.  The range is sometimes referred to as The Wyomings.
The vast majority of the range is public land administered by the U.S. Forest Service as part of the Bridger-Teton National Forest and is a popular destination for hiking, camping, fishing, horseback riding, snowmobiling, hunting, and other activities.  The range contains numerous lakes and developed campgrounds, in addition to many wild and primitive areas.  The closest towns to the range include Big Piney, Marbleton, La Barge, and Kemmerer.
A branch of the Oregon Trail known as the Lander Road traverses the mountain range. The cutoff offered emigrants a shorter travel option. Numerous grave sites and historical markers can be found relating to the trail.
The range is not to be confused with the Salt River Range, which runs closely parallel to the Wyoming Range on its western side. The two ranges are separated by Grey's River.
The United States House of Representatives voted March 25, 2009, to grant wilderness status to two million acres (8,000 km²) of public land in nine states. The Omnibus Public Land Management Act, which had already been passed by the Senate, was approved in the House by a 285-to-140 vote. It was signed into law March 30 by President Barack Obama. The legislation included the Wyoming Range Legacy Act, which shields 1,200,000 acres (4,900 km2) of the Wyoming Range from future oil and gas leasing. Leases that were issued in the 1,200,000 acres (4,900 km2) withdrawal area prior to passage of the Omnibus Public Land Management Act were not affected by the legislation.

The painter 

Albert Bierstadt was a German-born American painter. He was brought to the United States at the age of one by his parents. He later returned to study painting for several years in Düsseldorf. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth. 

In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic river. Their style was based on carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. An important interpreter of the western landscape, Bierstadt, along with Thomas Moran, is also grouped with the Rocky Mountain School.

In 1858 he exhibited a large painting of a Swiss landscape at the National Academy of Design, which gained him positive critical reception and honorary membership in the Academy.  At this time Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. A group of artists known as the Hudson River School portrayed its majestic landscapes and craggy areas, as well as the light affected by the changing waters.

In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those landscapes.  He continued to visit the American West throughout his career.

During the American Civil War, Bierstadt paid for a substitute to serve in his place when he was drafted in 1863. He completed one Civil War painting Guerrilla Warfare, Civil War in 1862, based on his brief experiences with soldiers stationed at Camp Cameron in 1861.

Bierstadt's painting was based on a stereoscopic photograph taken by his brother Edward Bierstadt, who operated a photography studio at Langley's Tavern in Virginia. Bierstadt's painting received a positive review when it was exhibited at the Brooklyn Art Association at the Brooklyn Academy of Music in December 1861. Curator Eleanor Jones Harvey observes that Bierstadt's painting, created from photographs, "is quintessentially that of a voyeur, privy to the stories and unblemished by the violence and brutality of first-hand combat experience."

In 1860, he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany.[ In 1867 he traveled to London, where he exhibited two landscape paintings in a private reception with Queen Victoria. He traveled through Europe for two years, cultivating social and business contacts to sustain the market for his work overseas.

As a result of the publicity generated by his Yosemite paintings, Bierstadt's presence was requested by every explorer considering a westward expedition, and he was commissioned by the Atchison, Topeka, and Santa Fe Railroad to visit the Grand Canyon for further subject matter.

Bierstadt's technical proficiency, earned through his study of European landscape, was crucial to his success as a painter of the American West. It accounted for his popularity in disseminating views of the Rockies to those who had not seen them. The immense canvases he produced after his trips with Lander and Ludlow established him as the preeminent painter of the western American landscape. 

Despite his popular success, Bierstadt was criticized by some contemporaries for the romanticism evident in his choices of subject and his use of light was felt to be excessive. 

In 1882 Bierstadt's studio at Irvington, New York, was destroyed by fire, resulting in the loss of many of his paintings. By the time of his death on February 18, 1902, the taste for epic landscape painting had long since subsided. Bierstadt was then largely forgotten. He was buried at the Rural Cemetery in New Bedford, Massachusetts.

Interest in his work was renewed in the 1960s, with the exhibition of his small oil studies. The subsequent reassessment of Bierstadt's work has placed it in a favorable context.

Bierstadt's theatrical art, fervent sociability, international outlook, and unquenchable personal energy reflected the epic expansion in every facet of western civilization during the second half of the nineteenth century.

Bierstadt was a prolific artist, having completed over 500 paintings during his lifetime. Many of these are held by museums across the United States.

DOME ARGUS FIRST PHOTOGRAPHED BY GEORGE RAYNER

GEORGE W. RAYNER (dates not documented) 

Dome Argus or Dome A (4,093 m-13,428 ft)

Antarctica - International condominiums

First known picture, 1920 

The mountain 

Dome Argus (4,093 m-13,428 ft) also called Dome A is the highest ice feature in Antarctica, consisting of an ice dome or eminence located 1,200 kilometres (750 mi) inland. It is thought to be the coldest naturally occurring place on Earth, with temperatures of near −90 °C (−130 °F) during some winters.  It is located near the center of East Antarctica, approximately midway between the enormous head of Lambert Glacier and the geographic South Pole, within the Australian claim.

Antarctica is a de facto condominium, governed by parties to the Antarctic Treaty System that have consulting status. Twelve countries signed the Antarctic Treaty in 1959, and thirty-eight have signed it since then. The treaty prohibits military activities and mineral mining, prohibits nuclear explosions and nuclear waste disposal, supports scientific research, and protects the continent's ecozone. Ongoing experiments are conducted by more than 4,000 scientists from many nations.

Dome A is a lofty ice prominence, the highest rooftop of the Antarctic Plateau, and the elevation visually is not noticeable. Below this enormous dome, underneath at least 2,400 m (7,900 ft) of ice sheet, lies the Gamburtsev Mountain Range, about the size of the European Alps.

The name "Dome Argus" was given by the Scott Polar Research Institute from Greek mythology. Argus built the ship Argo in which Jason and the Argonauts traveled to Colchis in search of the Golden Fleece.

This site is one of the driest locations on Earth and receives 1 to 3 cm (0.39 to 1.18 in) of snow per year. Due to this, as well as calm weather, this site is an excellent location to obtain ice core samples for the research of past climates. Temperatures at Dome A fall below −80 °C (−112 °F) almost every winter.

Details of the morphology of this feature were determined by the SPRI-NSF-TUD airborne radio echo sounding program between the years 1967 and 1979.

In January 2005 a team from the Chinese National Antarctic Research Expeditions (CHINARE) traversed 1,228 km (763 mi) from Zhongshan Station to Dome A and located the highest point of the ice sheet (4,093 m (13,428 ft) above sea level) by GPS survey at 80°22’S 77°21’E on Jan 18. This point is near one end of an elongate ridge (about 60 km (37 mi) long and 10 km (6.2 mi) wide) which is a major ice divide and has an elevation difference along its length of only a few meters. An automatic weather station (AWS) was deployed at Dome A, and a second station was installed approximately halfway between the summit and the coast at a site called Eagle (76°25'S, 77°01'E, 2830 m above sea level). These AWS are operated as part of an ongoing collaboration between China and Australia which also includes a third AWS (LGB69) at 70°50'S, 77°04'E, 1,854 m (6,083 ft) above sea level which has operated since January 2002. Station at Dome A is powered by solar cells and diesel fuel and requires yearly service and refuelling.

The Polar Research Institute of China deployed a robotic observatory called PLATO (PLATeau Observatory) on the dome in January 2008.  PLATO was designed and built by the University of New South Wales, Sydney, Australia to provide a platform from which astronomical observations and site-testing could be conducted.  Various institutions from Australia, US, China and the UK provided instruments that were deployed with PLATO, these instruments included CSTAR, Gattini, PreHEAT, Snodar, Nigel and the PLATO web cameras.

The Institute of Remote Sensing Applications, Chinese Academy of Sciences established a wireless network technology based observation system called DomeA-WSN on the dome in January 2008.

The Kunlun Station, China's third Station in Antarctica, was set up at the dome on January 27, 2009. Thus far the Antarctic Kunlun Station is suitable as a summer station, but there are plans to develop it further and build an airfield nearby to ease servicing, as it is not reachable by helicopters. Since 2013 the Chinese station is robotized.

Références 

- Antatartica ultra proéminences 

- People Daily, China 

- NASA

- Wikipedia Page/ Dome A

The Photographer 

George W. Rayner was a British photographer and biologist based at the research station at Grytviken in the Falkland Islands from around 1928 to 1939. In 1929 the Australian explorer Hubert Wilkins and American publisher William Randolph Hearst organised an expedition to Antarctica. The Discovery Committee of the British Colonial Office agreed to assist this expedition with its research vessel the William Scoresby. As a result Rayner accompanied Hubert Wilkins as a photographer on this expedition.

During the next decade he took part in a number of other sub-Antarctic voyages as a member of the scientific staff of the Discovery II research vessel. The primary focus of his research was whales, helping to establish the seasonal migration patterns of whales. During this period, Rayner was also an avid photographer of his sub-Antarctic environment.

References 

- Victoria museum Australia notice 

The first  expedition 

The 'William Scoresby' was a purpose-designed research vessel built for the Discovery Committee by the East Yorkshire shipyard of Cook, Welton & Gemmell, at Beverley. She was named after the famous British artic explorer and scientist, William Scoresby (1789-1857), who had explored and mapped much of the Greenland coastline in the early 18th century. Described as part whale chaser, trawler and floating research laboratory, the 'William Scoresby' completed seven voyages to Antarctic waters between 1926 and 1937, operating initially with the 'Discovery' and later the 'Discovery II', based mainly out of Stanley in the Falklands and Grytviken on South Georgia. During this period her crew tagged and tracked 3,000 whales and undertook studies on plankton, fish and hydrological surveys. During her longest voyage in 1928-1930, the vessel was involved in the Second Wilkins-Hearst Antarctic Expedition, in which Sir Humbert Wilkins attempted to make the first trans-Antarctic flight, using two single-engined Lockheed Vega aircraft financed by the US newspaper tycoon William Randolph Hearst. In December 1929, one of the aircraft was loaded onto the after-deck of the 'RRS William Scoresby' at Deception Island and the ship sailed south to below the 67th parallel in an attempt to find solid pack-ice from which the place could take off using skis. After the search proved unsuccessful, floats were fitted and the plane was lowered into the water by crane for take-off. Using this method several successful flights were completed over a period of weeks, but the plane had insufficient range to attempt a full trans-Antarctic flight.

References 
- Museum Victoria Collection, Australia

MOUNT ARARAT BY GEVORK BASHINJAGHIAN

GEVORK BASHINJAGHIAN  (1857-1925)

Mount Ararat (5,137 m- 16,854ft)
Turkey (since 1921)

In 1912 - National Museum of Fine Arts Erevan (Armenia)

The mountain
There are two mountains in the world called Mont Ararat, One in Turkey, one in United States of America (Pennsylvania). The one we are talking about is Mount Ararat in Turkey, which has a very long and complex political, religious, sacred and mythical history.
Mount Ararat  (5,137 m- 16,854ft)  (Turkish: Ağrı Dağı; Armenian: Մասիս, Masis) is a snow-capped and dormant stratovolcano in the eastern extremity of Turkey.  It consists of two major volcanic cones: Greater Ararat, the highest peak in Turkey and the Armenian plateau with an elevation of 5,137 m (16,854 ft); and Little Ararat, with an elevation of 3,896 m (12,782 ft). The Ararat massif is about 40 km (25 mi) in diameter and  is part of  the range of Armenian Highlands.
Mountains of Ararat  have been perceived as the traditional resting place of Noah's Ark since the 11th century. It is the principal national symbol of Armenia and has been considered a sacred mountain by Armenians. It is featured prominently in Armenian literature and art and is an icon for Armenian irredentism. Along with Noah's Ark, it is depicted on the coat of arms of Armenia.
Mount Ararat forms a near-quadripoint between Turkey, Armenia, Azerbaijan and Iran. Its summit is located some 16 km (10 mi) west of both the Iranian border and the border of the Nakhchivan exclave of Azerbaijan, and 32 km (20 mi) south of the Armenian border. The Turkish–Armenian–Azerbaijani and Turkish–Iranian–Azerbaijani tripoints are some 8 km apart, separated by a narrow strip of Turkish territory containing the E99 road which enters Nakhchivan at 39.6553°N 44.8034°E.
From the 16th century until 1828 Great Ararat's summit and the northern slopes, along with the eastern slopes of Little Ararat were part of Persia, while the range was part of the Ottoman-Persian border. Following the 1826–28 Russo-Persian War and the Treaty of Turkmenchay, the Persian controlled territory was ceded to the Russian Empire. Little Ararat became the point where the Turkish, Persian, and Russian imperial frontiers converged.
The current international boundaries were formed throughout the 20th century. The mountain came under Turkish control during the 1920 Turkish–Armenian War.  It formally became part of Turkey according to the 1921 Treaty of Moscow and Treaty of Kars.  By the Tehran Convention of 1932, a border change was made in Turkey's favor, allowing it to occupy the eastern flank of Lesser Ararat.The Iran-Turkey boundary skirts east of Lesser Ararat, the lower peak of the Ararat massif.
The nationalist Armenian Revolutionary Federation (Dashnaktsutyun) party claims eastern Turkey (Western Armenia) as part of what it considers United Armenia.  The Armenian government has not made official claims to any Turkish territory,however the Armenian government has avoided "an explicit and formal recognition of the existing Turkish-Armenian border." According to Turkish political scientist Bayram Balci, regular references to the Armenian Genocide and Mount Ararat "clearly indicates" that the border with Turkey in contested in Armenia.
In a 2010 interview with Der Spiegel, Armenian President Serzh Sargsyan was asked: "You can see Mount Ararat, Armenia's national symbol, from the windows of your residence. Today, the mountain is inaccessible, on the other side of the Turkish border. Turkey fears demands for land and compensation. Do you want Mount Ararat back?" Sargsyan, in response, said: "No one can take Mount Ararat from us; we keep it in our hearts. Wherever Armenians live in the world today, you will find a picture of Mount Ararat in their homes. And I feel certain that a time will come when Mount Ararat is no longer a symbol of the separation between our peoples, but an emblem of understanding. But let me make this clear: Never has a representative of Armenia made territorial demands. Turkey alleges this—perhaps out of its own bad conscience? 

Ascents of Mount Ararat
The first efforts to reach Ararat's summit were made in the Middle Ages.  In 13th century, William of Rubruck wrote that "Many have tried to climb it, but none has been able." 
However, it was not until 1829 when Friedrich Parrot and Khachatur Abovian, accompanied with four others, made the first recorded ascent.  Parrot and Abovyan, one high-ranking Armenian Apostolic Church clergyman commented that to climb the sacred mountain was "to tie the womb of the mother of all mankind in a dragonish mode." By contrast, in the 21st century to climb Ararat is "the most highly valued goal of some of the patriotic pilgrimages that are organized in growing number from Armenia and the Armenian diaspora."
The first recorded ascent of the mountain in the modern times took place on 9 October [O.S. 27 September] 1829. The Baltic German naturalist Friedrich Parrot of the University of Dorpat arrived at Etchmiadzin in mid-September 1829, almost two years after Russian capture of Erivan, for the single purpose of exploring Ararat. The prominent Armenian writer Khachatur Abovian, then a deacon and translator at Etchmiadzin, was assigned by Catholicos Yeprem, the head of the Armenian Church, as interpreter and guide. Abovian and Parrot crossed the Aras River and headed to the Armenian village of Agori situated on the northern slope of Ararat 1,220 metres (4,000 ft) above sea level. They set up a base camp at the Monastery of Saint Jacob some 730 metres (2,400 ft) higher, at an elevation of 1,943 metres (6,375 ft). After two failed attempts, they reached the summit on their third attempt at 3:15 p.m. on October 9, 1829.  The group included Parrot, Abovian, two Russian (Cossack) soldiers—Alexei Zdorovenko and Matvei Chalpanov, and two Armenian Agori villagers—Hovannes Aivazian, and Murat Poghossian.   Parrot measured the elevation at 5,250 metres (17,220 ft) using a mercury barometer. This was not only the first ascent of Ararat, but also the second highest elevation climbed by man up to that date outside of Mount Licancabur in the Chilean Andes. Abovian dug a hole in the ice and erected a wooden cross facing north. Abovian also picked up a chunk of ice from the summit and carried it down with him in a bottle, considering the water holy.  On 8 November [O.S. 27 October] 1829, Parrot and Abovian together with the Agori hunter Sahak’s brother Hago, acting as a guide climbed up Lesser Ararat.

Mount Ararat and Noe

 ATHANASIUS KIRCHER (1602-16680)
 - Topography of Paradise as pictured in Arca Noë (1675). 
In the northeast, in the mountains above Armenia stands Mount Ararat,
shown with a rectangular-shaped ark on the summit

JOSEPH PITTON DE TOURNEFORT  (1656-1708)
Mount Ararat  as seen from Ejmiatsin
  in A voyage into the Levant

IVAN AIVAZOVZKY (1817-1900)
Descent of Noah from Ararat (1889)
National Gallery of Armenia

According to the fourth verse of the eighth chapter of the Book of Genesis (Genesis 8:4) following a flood, Noah's Ark landed on the "mountains of Ararat" (Biblical Hebrew: הָרֵי אֲרָרָט, ).[65) Most historians and Bible scholars agree that "Ararat" is the Hebrew name of Urartu, the geographic predecessor of Armenia and referred to the wider region at the time and not the mountain today known as Ararat. The phrase is translated as "mountains of Armenia" (montes Armeniae) in the Vulgate, the fourth century Latin translation of the Bible. Nevertheless, Mount Ararat is considered the traditional site of the resting place of the Noah's Ark and most Christians prefer this view "largely because it would have been the first peak to emerge from the receding flood waters." It has therefore been called a biblical mountain.
According to Arnold, Mount Ararat has been associated with the Genesis flood story since the 11-12th centuries. Bailey suggested that the local Armenian population began to identify it as the ark's landing place in the 11-12th centuries. British orientalist F. C. Conybeare in his 1901 review of Friedrich Murad's book on Ararat wrote that the mountain was "a center and focus of pagan myths and cults [...] and it was only in the eleventh century, after these had vanished from the popular mind, that the Armenian theologians ventured to locate on its eternal snows the resting-place of Noah's ark." Fischer and Drs. Lee Spencer and Jean Luc Lienard name the 13th century Franciscan missionary William of Rubruck as the earliest reference for the tradition of Mount Ararat as the landing place of the ark in European literature. The 14th century English traveler John Mandeville is another early author who mentioned Mount Ararat, "where Noah's ship rested, and it is still there."
Searches for Noah's Ark have traditionally concentrated on Mount Ararat. Augustin Calmet wrote in his 1722 biblical dictionary, "It is affirmed, but without proof, that there are still remains of Noah's ark on the top of this mountain; but M. de Tournefort, who visited this spot, has assured us there was nothing like it; that the top of mount Ararat is inaccessible, both by reason of its great height, and of the snow which perpetually covers it."
Despite numerous reports of ark sightings (e.g. Ararat anomaly) and rumors, "no scientific evidence of the ark has emerged." Searches for Noah's Ark are considered by scholars an example of pseudoarchaeology. Kenneth Feder writes, "As the flood story itself is unsupported by any archaeological evidence, it is not surprising that there is no archaeological evidence for the existence of an impossibly large boat dating to 5,000 years ago."
The Painter 
Quite a lot of painters painted MountArarat since the Middle age. Among the numerous représentations avalaible on the web nowadays, this blog has choosen the on by  Gevorg Bashinjaghian, an Armenian painter who had significant influence on Armenian landscape painting.
Bashinjaghian was born in 1857 in eastern Georgian province of Kakheti, part of the Russian Empire at the time.  In 1878, Bashinjaghian moved to the Russian capital St. Petersburg, where he became a student at the Imperial Academy of Arts a year later.  Mikhail Clodt was one of his teachers. He graduated from the Academy in 1883, also winning a silver medal for his Birch Grove. He returned to his hometown Sighnaghi the same year and soon started to travel throughout the Caucasus: Lake Sevan, Yerevan, Ashtarak and the holy capital of the Armenian Church - Ejmiatsin, Georgia and the Northern Caucasus, which caused the artist to make a row of canvas of the local landscapes. During the next year, Bashinjaghian visited Italy and Switzerland, where he learnt about the classic European art and also saw the Alps. He later wrote that "the Alps are beautiful, but they cannot win your heart if you have seen the Caucasus."
He returned to Russia and settled in Tiflis, the largest city of the Caucasus and the cultural center of Armenians of Russia. In 1890s Bashinjaghian had exhibitions in Moscow, Odessa, St. Petersburg and Novocherkassk. In 1897, he created a series of oil painting of Ani, the medievial Armenian capital of thousand churches. From 1899 to 1901, Bashinjaghian lived in Paris with his wife Ashkhen Katanian and their three children. In France, he made a trip throughout the country and produced over 30 paintings.[2] In 1923 Bashinjaghian became a member of the Armenian Artists' Society.
Bashinjaghian died on 1925 in Tiflis and was buried at the side of Sayat-Nova's tomb in the backyard of Saint George Cathedral.
Exhibitions of Bashinjaghian's works were held in Yerevan, Moscow St. Petersburg and Riga, many of them in 1957-1958, in memory of the 100th anniversary of his birth.
A street in Yerevan is named after him.

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