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Monday, September 12, 2016

PITON DE LA FOURNAISE BY J- B. BORY DE SAINT VINCENT




JEAN-BAPTISTE BORY DE SAINT VINCENT  (1778-1846)
Le Piton de la Fournaise  (2,632 m -8,635 ft)
 France  (Ile de la Réunion)

 Drawing view"as the crow flies" of the peak of the Furnace after the eruption of 1801


The mountain 
Piton de la Fournaise (Peak of the Furnace) is a shield volcano on the eastern side of Réunion island (a French department) in the Indian Ocean. It is currently one of the most active volcanoes in the world, along with Kilauea in the Hawaiian Islands (Pacific Ocean), Stromboli, Etna (Italy) and Mount Erebus in Antarctica. A previous eruption began in August 2006 and ended in January 2007. The volcano erupted again in February 2007, on 21 September 2008, on 9 December 2010, which lasted for two days and on 1 August 2015 A. An other one on 26 May 2016 ... the very last eruption just begun yesterday,  11 Septembre 2016. 
The volcano is located within Réunion National Park, a World Heritage site.
Piton de la Fournaise is often known locally as le Volcan (The Volcano); it is a major tourist attraction on Réunion island.  Due to his activity, the Piton de la Fournaise is constantly monitored by geophysical sensors (tiltmeters, extensometers, differential GPS receivers, etc.).  The data from those various sensors is sent to the Piton de la Fournaise Volcano Observatory, located in Bourg-Murat, northwest of the volcano.  The observatory, founded in 1978 following the Piton-Sainte-Rose flow, is operated by the Institut de Physique du Globe de Paris (Global Geophysics Institute of Paris), in association with CNRS ( National Institute of Scientific Resarch)  and the University of Réunion. The OVPF often publishes reports on Piton de la Fournaise's current activity via their website in French. RIGIC (the Réunion Island Geological Information Center) takes this information and translates it into English for distribution to the English-speaking scientific.
Climbing
A high quality forestry road, followed by a track (with lots of bumps), connects the highway of the plains in Bourg-Murat to the Pas de Bellecombe (Bellecombe Pass), where a parking lot and a snack bar are available to visitors.  The Pas de Bellecombe is situated over the caldera rim cliffs and offers a good point of view over the northeast part of the caldera.
A good stairway path descends from the pass to the caldera floor.  This path is closed for safety reasons during seismic events that may precede eruptions and during eruptions. White paint marks over rocks delimit a number of footpaths ascending the lava shield inside the caldera.  Visitors exploring the caldera should be in good physical condition, with hiking shoes and a supply of drinking water and food. They must be prepared to exercise caution, for the weather can change very quickly, moving from bright sunlight and heat (with risks of heatstroke) to dense fog with cold and rain. In dense fog, straying from paths is very risky. Visitors are advised to take the necessary precautions for sun, heat, cold and rain and not to stray from marked paths.  An excellent, albeit expensive, way to get a good sight of the volcano is to ride in the tourist helicopter flights offered by commercial companies on the island The lower parts of the Grand Brûlé can be visited from the N2 highway.  Lava flows that have crossed the road are indicated by signs.
Completely free access during eruptions was permitted until 1998; access has been limited since that date, being virtually banned at present.


The painter  
Jean-Baptiste Genevieve Marcellin Bory de Saint-Vincent is a French officer, naturalist and geographer, who was mainly interested in volcanology, botany and systematic.
During the las years of the 18th century (particularly agitated in France) , he learned the departure of a scientific expedition organized by the government and gets the job of chief zoologist aboard a participating corvettes then met Bernard Germain de Lacépède. Thus, after leaving the army, Jean Baptiste Bory de Saint-Vincent left Paris on September 30, arrived in Le Havre on 2 October and leaves town aboard one of the ships that captain Nicolas Baudin took  around the world from 1800 to 1804.  He stopped in Mauritius in March 1801.  From there, he reached l'Ile de la Réunion (ex Bourbon Island) where he performed in October and November 1801 ( "An X" in the Revolutionary Calendar)  the rise and the first general scientific description of the Piton de la Fournaise, the active volcano of the island.  It gives the name of the scientist Dolomieu he just learned the death to  one of the craters he describes as a nipple. It gives its own name to the  crater of the summit.  Back in France in 1802, he published Voyage dans les îles d'Afrique (Travel in african Islands). He continued his scientific career in parallel to a military career: he was elected correspondent of the Museum in August 1803 and the "correspond of  first class" of the Institute de France in the spring of 1808. In 1804, he published  Essais sur les iles fortunées  (Essay on the wealthy islands) et Voyage dans les quatre principales îles des mers d'Afrique (Travel in the four main islands of the African seas). The articles, written by international scientific luminaries, were illustrated by  lithographs printed by Duval Mercourt then Marcellin Jobard.  In 1828, he was appointed to head the commission scientific exploration of Morea, held in 1829-1830. In 1830 he appeared in an election to become a member of the Institute after the death of Lamarck. He died in 1846 а Paris and was buried in Père Lachaise Cemetery (49th division).

Sunday, September 11, 2016

K2 PEAK BY VITTORIO SELLA

 





VITTORIO SELLA (1859-1843)  
 The K2  peak (8,611m - 28,251 ft) 
China - Pakistan border

Photographed during the 1909 expedition 
led by Prince Luigi Amedeo, Duke of the Abruzzi 

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

The mountain 
K2 peak (8,611m - 28,251 ft)  also known as Mount Godwin-Austen or Chhogori is the second highest mountain in the world, after Mount Everest. It is located on the China-Pakistan border between Baltistan, in the Gilgit–Baltistan region of northern Pakistan, and the Taxkorgan Tajik Autonomous County of Xinjiang, China.
The name K2 is derived from the notation used by the Great Trigonometric Survey of British India. Thomas Montgomerie made the first survey of the Karakoram from Mount Haramukh, some 210 km (130 miles) to the south, and sketched the two most prominent peaks, labeling them K1 and K2.
The policy of the Great Trigonometric Survey was to use local names for mountains wherever possible and K1 was found to be known locally as Masherbrum. K2, however, appeared not to have acquired a local name, possibly due to its remoteness. The mountain is not visible from Askole, the last village to the south, or from the nearest habitation to the north, and is only fleetingly glimpsed from the end of the Baltoro Glacier, beyond which few local people would have ventured. The name Chogori, derived from two Balti words, chhogo ("big") and ri ("mountain")  has been suggested as a local name, but evidence for its widespread use is scant. It may have been a compound name invented by Western explorers or simply a bemused reply to the question "What's that called?" It does, however, form the basis for the name Qogir (simplified Chinese: 乔戈里峰; traditional Chinese: 喬戈里峰; pinyin: Qiбogēlǐ Fēng) by which Chinese authorities officially refer to the peak. Other local names have been suggested including Lamba Pahar ("Tall Mountain" in Urdu) and Dapsang, but are not widely used.
Lacking a local name, the name Mount Godwin-Austen was suggested, in honor of Henry Godwin-Austen, an early explorer of the area, and while the name was rejected by the Royal Geographical Society, it was used on several maps, and continues to be used occasionally.
The surveyor's mark, K2, therefore continues to be the name by which the mountain is commonly known. It is now also used in the Balti language, rendered as Kechu or Ketu (Urdu: کے ٹو‎). The Italian climber Fosco Maraini argued in his account of the ascent of Gasherbrum IV that while the name of K2 owes its origin to chance, its clipped, impersonal nature is highly appropriate for so remote and challenging a mountain. He concluded that it was ...
K2 is the highest point of the Karakoram range and the highest point in both Pakistan and Xinjiang.

Climbing history 
K2 is known as the Savage Mountain due to the extreme difficulty of ascent. It has the second-highest fatality rate among the eight thousanders. With around 300 successful summits and 80 fatalities, about one person dies on the mountain for every four who summit.  It is more difficult and hazardous to reach the peak of K2 from the Chinese side; thus, it is usually climbed from the Pakistani side. 
The mountain was first surveyed by a European survey team in 1856. Team member Thomas Montgomerie designated the mountain "K2" for being the second peak of the Karakoram range. The other peaks were originally named K1, K3, K4, and K5, but were eventually renamed Masherbrum, Gasherbrum IV, Gasherbrum II, and Gasherbrum I, respectively. 
In 1892, Martin Conway led a British expedition that reached "Concordia" on the Baltoro Glacier.
- The  first expedition in 1902
The first serious attempt to climb K2 was undertaken in 1902 by Oscar Eckenstein, Aleister Crowley, Jules Jacot-Guillarmod, Heinrich Pfannl, Victor Wessely, and Guy Knowles via the Northeast Ridge. In the early 1900s, modern transportation did not exist: it took "fourteen days just to reach the foot of the mountain". After five serious and costly attempts, the team reached 6,525m-21,407 ft) although considering the difficulty of the challenge, and the lack of modern climbing equipment or weatherproof fabrics, Crowley's statement that "neither man nor beast was injured" highlights the pioneering spirit and bravery of the attempt. The failures were also attributed to sickness (Crowley was suffering the residual effects of malaria), a combination of questionable physical training, personality conflicts, and poor weather conditions—of 68 days spent on K2 (at the time, the record for the longest time spent at such an altitude) only eight provided clear weather.
- The famous 1909 expedition
In 1909,  an  expedition led by Prince Luigi Amedeo, Duke of the Abruzzi, reached an elevation of around 6,250 m -20,510 ft on the South East Spur, now known as the Abruzzi Spur (or Abruzzi Ridge). This would eventually become part of the standard route but was abandoned at the time due to its steepness and difficulty. After trying and failing to find a feasible alternative route on the West Ridge or the North East Ridge, the Duke declared that K2 would never be climbed, and the team switched its attention to Chogolisa, where the Duke came within 150m-490 ft of the summit before being driven back by a storm.  During this historical 1909 expedition K2 was photographed for the first time by Vittoro Sella member of the expedition (see photo above).  
- Others expeditions 
In 1938, an American expedition led by Charles Houston made a reconnaissance of the mountain. They concluded that the Abruzzi Spur was the most practical route and reached a height of around 8,000 m- 26,000 ft before turning back due to diminishing supplies and the threat of bad weather.
In 1939, an expedition led by Fritz Wiessner came within 200 m -660 ft of the summit but ended in disaster when Dudley Wolfe, Pasang Kikuli, Pasang Kitar, and Pintso disappeared high on the mountain.
 In 1953 Charles Houston returned to K2 to lead the  "American expedition". The expedition failed due to a storm that pinned the team down for 10 days at 7,800m -25,590 ft, during which time Art Gilkey became critically ill. A desperate retreat followed, during which Pete Schoening saved almost the entire team during a mass fall, and Gilkey was killed, either in an avalanche or in a deliberate attempt to avoid burdening his companions. Despite the failure and tragedy, the courage shown by the team has given the expedition iconic status in mountaineering history.
- First expedition to the summit  
On July 31,  1954 Achille Compagnoni reached the  K2's summit on the first ascent, via the Abruzzi Spur. The expedition was led by Ardito Desio, and the two climbers who reached the summit were Lino Lacedelli and Achille Compagnoni. The team included a Pakistani member, Colonel Muhammad Ata-ullah, who had been a part of the 1953 American expedition. Also on the expedition were Walter Bonatti and Pakistani Hunza porter Amir Mehdi, who both proved vital to the expedition's success in that they carried oxygen tanks to 8,100m-26,600 ft for Lacedelli and Compagnoni. The ascent is controversial because Lacedelli and Compagnoni established their camp at a higher elevation than originally agreed with Medhi and Bonatti. It being too dark to ascend or descend, Medhi and Bonatti were forced to overnight without shelter above 8,000 m leaving the oxygen tanks behind as requested when they descended. Bonatti and Mehdi survived, but Mehdi was hospitalized for months and had to have his toes amputated because of frostbite. Efforts in the 1950s to suppress these facts to protect Lacedelli and Compagnoni's reputations as Italian national heroes were later brought to light. It was also revealed that the moving of the camp was deliberate, a move apparently made because Compagnoni feared being outshone by the younger Bonatti. Bonatti was given the blame for Medhi's hospitalization.
On 9 August 1977, 23 years after the Italian expedition, the japanese climber Chiro Yoshizawa led the second successful ascent, with Ashraf Aman as the first native Pakistani climber. The Japanese expedition took the Abruzzi Spur, and used more than 1,500 porters !
 In 1978 : third ascent of K2 via a new route, the long and corniced Northeast Ridge. The top of the route traversed left across the East Face to avoid a vertical headwall and joined the uppermost part of the Abruzzi route. This ascent was made by an American team, led by James Whittaker; the summit party was Louis Reichardt, Jim Wickwire, John Roskelley, and Rick Ridgeway. Wickwire endured an overnight bivouac about 150 m- 490 ft below the summit, one of the highest bivouacs in history. This ascent was emotional for the American team, as they saw themselves as completing a task that had been begun by the 1938 team forty years earlier.
In 1982  takes place another notable Japanese ascent with the climb of the difficult North Ridge on the Chinese side of the peak . A team from the Mountaineering Association of Japan led by Isao Shinkai and Masatsugo Konishi put three members, Naoe Sakashita, Hiroshi Yoshino, and Yukihiro Yanagisawa, on the summit on 14 August. However Yanagisawa fell and died on the descent. Four other members of the team achieved the summit the next day.
The first climber to reach the summit of K2 twice was Czech climber Josef Rakoncaj.  Rakoncaj was a member of the 1983 Italian expedition led by Francesco Santon, which made the second successful ascent of the North Ridge (31 July 1983). Three years later, on 5 July 1986, he reached the summit via the Abruzzi Spur (double with Broad Peak West Face solo) as a member of Agostino da Polenza's international expedition.
In 1983 the first woman to summit K2 was Pole Wanda Rutkiewicz.
In 1986, two Polish expeditions climbed via two new routes, the Magic Line and the Polish Line. This second has not yet been repeated.
In 2004 the Spanish climber Carlos Soria Fontбn became the oldest person ever to summit K2, at the age of 65.
The peak has now been climbed by almost all of its ridges. Although the summit of Everest is at a higher altitude, K2 is a much more difficult and dangerous climb, due in part to its more inclement weather and comparatively greater height from base to peak. The mountain is believed by many to be the world's most difficult and dangerous climb, hence its nickname "the Savage Mountain". It, and the surrounding peaks, have claimed more lives than any others. As of July 2010, only 302 people have completed the ascent, compared with over 2,700 who have ascended Everest. At least 80 (as of September 2010) people have died attempting the climb. Thirteen climbers from several expeditions died in the 1986 K2 Disaster. Another six mountaineers died on 13 August 1995, while eleven climbers died in the 2008 K2 disaster.
Recent attempts
2008. On 1 August 2008, a group of climbers went missing after a large piece of ice fell during an avalanche, taking out the fixed ropes on part of the route; four climbers were rescued, but 11, including Gerard McDonnell, the first Irish person to reach the summit, were confirmed dead.
2009. Despite several attempts, nobody reached the summit.
2010. On 6 August 2010, Fredrik Ericsson, who intended to ski from the summit, joined Gerlinde Kaltenbrunner on the way to the summit of K2. Ericsson fell 1,000 m-3,300 ft) and was killed. Kaltenbrunner aborted her summit attempt. Despite several attempts, nobody reached the summit.
2011. On 23 August 2011, a team of four climbers reached the summit of K2 from the North side. Gerlinde Kaltenbrunner became the first woman to complete all 14 eight-thousanders without supplemental oxygen.  Kazakhs Maxut Zhumayev and Vassiliy Pivtsov completed their eight-thousanders quest. The fourth team member was Dariusz Załuski from Poland.
2012. The year started with a Russian team aiming for a first winter ascent. The expedition ended with the death of Vitaly Gorelik due to frostbite and pneumonia. The Russian team cancelled the ascent.  In the summer season, K2 saw a record crowd standing on its summit—28 climbers in a single day—bringing the total for the year to 30.
2013 On 28 July 2013, two New Zealanders, Marty Schmidt and his son Denali, died after an avalanche destroyed their camp. A guide had reached the camp they were at, but said they were nowhere to be seen and the campsite tent showed signs of having been hit by an avalanche. British climber Adrian Hayes, who was with the group, later posted on his Facebook page that the campsite had been wiped out.
2014. On 26 July 2014, the first team of Pakistani climbers scaled K2. There are six Pakistani and three Italian climbers in the expedition, called K2 60 Years Later, according to BBC. Previously, K2 had only been summited by individual Pakistanis as part of international expeditions.  On 27 July 2014, Garrett Madison led a team of three American climbers and six Sherpas to summit K2.

Saturday, September 10, 2016

QURNAT AS SAWDA' (MOUNT LEBANON) BY J.M.W. TURNER






J.M.W. TURNER (1775-1851) 
Qurnat as Sawdā’ - Mount Lebanon  (3, 088 m -10, 131 ft)
Lebanon

1. Mount Lebanon and Convent San Antonio, 1836 - The Ashmolean Museum, Oxford 
2. Qurnat as Sawda' - Mont Lebanon Range Anonymus colorized photo, c. 1950  


The mountain
Qurnat as Sawdā’ (3,088m -10,131 ft) is the highest peak in Lebanon and the Levant. In Jacobus de Voragine's Legenda aurea, the summit of Mount Lebanon (Qurnat as Sawda') is the site on which Noah, after having survived the flood, replanted a sacred tree.  Voragine states that the tree's seeds were given to Seth by an angel in the Garden of Eden and placed in Adam's mouth upon his passing such that his blood could feed its growth.
Many mountains dwarf Qurnat as Sawda in size, but few can offer the experience of ascending such beautiful, untrodden terrain. Summiting this peak carries the added satisfaction of seeing a place few visitors to Lebanon ever experience themselves.
The scenery along the way is spectacular. Expansive desert stretching to all sides is something to behold, especially the sharp juxtaposition of dry rocky soil and permanent snow fields classified as "alpine tundra." Then, just nine miles east of Qurnat as Sawda's summit, Mount Lebanon (the common term for the entire range), drops off more than 8,000 vertical feet, revealing breathtaking views and impressive cloudscapes.
Qurnat as Sawda experiences an Alpine-Tundra like weather, with cool temperatures even in the summer. Summer highs usually hover around 10–15 degrees Celsius during the day time, but go down to around 0–5 degrees at night. Winter is a very long period on this mountain (October– late-April) with average highs of only −20 °C and night time lows that can plummet to −45 °C. Snowfall is around 10–12 meters every year, and doesn't melt until mid-June. Frosts are also very common during the summer, with some nighttime lows going to around −5 °C.  Lebanon peaks above 1800 m are covered with snow almost 4 months a year, and the peaks above 2,500 m are covered around 6 months a year.
The mountain peak is known to experience many avalanches which are, in fact, extremely deadly. Also, the steepness of the slopes can go up to 75 degrees.
Hiking 
Hikers making the trek in early fall, summer, or late spring will encounter a significant bonus in the seasonally abandoned Cedar's Ski Resort, whose empty chairlifts to nowhere look post-apocalyptic amidst their Martian surroundings.
The hike itself should be easy enough for any moderately fit individual, but navigation poses something of a challenge. It is advised to thoroughly review online maps, all materials at one's disposal, and the most recent political movements before departing. Moreover, no water is available after departing the town of Ariz, at the base of the Cedar's resort, so pack plenty for the hike out and back.
The trail followed  on ascent  can be : The longitude/latitude of the summit, according to peakbagger.com, is 34 18'; 36 7' E, which places it about 3.5 miles Northwest of the peak of the northern-most chair lift of the Cedar's Ski Resort. It sounds a bit scattered, but it is fairly easy to find (it is "the tallest one »).
From Bcharre, walk or take a cab east, towards Cedar's. There is only one road headed in that direction, and it is easy to identify - it is the one that goes up. It's about 11 km to the base of the resort, where your off-trail hike will begin.
From the base, head up the main slope. There are switchbacks that make the loose rock easier to manage. It shouldn't take more than 90 minutes to get to the top of the lift and the isolated lift operator's shack pictured. We spent the night here and did not see a soul to give us trouble, but I would bet squatting is frowned upon.
From the hut, the valley runs Northwest, funneling visitors to As'Sawda. After about 2.5 miles Northwest along the dirt valley road you will meet with a slightly more established dirt road that will take you another three quarters of a mile Northwest before heading North and a little East to the stout summit (although its prominence is listed around 2,400 m, it is a short jaunt from the valley to the top - from google earth, I estimate it is no more 700 vertical feet from the valley floor to peak), which is marked by a rickety metal structure."
Reference
- Mount Lebanon in Atlas Obscura

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. "

Friday, September 9, 2016

KILAUEA PAINTED BY JULES TAVERNIER





JULES TAVERNIER (1844-1889)
  Kilauea  (1,247 m - 4,091 ft) 
 United states of America  (Hawaii)

1. Kilauea Caldera,  San Diego Museum of Art
2. Kilauea Volcano at Night (1885-86), Honolulu Museum of Art
3. Kilauea at night (1880) Honolulu Museum of Art
The mountain 
Kīlauea (1,247 m-4,091 ft) is a currently active shield volcano in the Hawaiian Islands, and the most active of the five volcanoes that together form the island of Hawaiʻi. Located along the southern shore of the island, the volcano is between 300,000 and 600,000 years old and emerged above sea level about 100,000 years ago. It is the second youngest product of the Hawaiian hotspot and the current eruptive center of the Hawaiian–Emperor seamount chain. Because it lacks topographic prominence and its activities historically coincided with those of Mauna Loa, Kīlauea was once thought to be a satellite of its much larger neighbor. Structurally, Kīlauea has a large, fairly recently formed caldera at its summit and two active rift zones, one extending 125 km (78 mi) east and the other 35 km (22 mi) west, as an active fault of unknown depth moving vertically an average of 2 to 20 mm (0.1 to 0.8 in) per year.
Kīlauea's eruptive history has been a long and active one; its name means "spewing" or "much spreading" in the Hawaiian language, referring to its frequent outpouring of lava. The earliest lavas from the volcano date back to its submarine preshield stage, samples having been recovered by remotely operated underwater vehicles from its submerged slopes; samples of other flows have been recovered as core samples. Lavas younger than 1,000 years cover 90 percent of the volcano's surface. The oldest exposed lavas date back 2,800 years. The first well-documented eruption of Kīlauea occurred in 1823 (Western contact and written history began in 1778), and since that time the volcano has erupted repeatedly. Most historical eruptions have occurred at the volcano's summit or its eastern rift zone, and are prolonged and effusive in character. The geological record shows, however, that violent explosive activity predating European contact was extremely common, and in 1790 one such eruption killed over 80 warriors; should explosive activity start anew the volcano would become much more of a danger to humans. Kīlauea's current eruption dates back to January 3, 1983, and is by far its longest-duration historical period of activity, as well as one of the longest-duration eruptions in the world; as of January 2011, the eruption has produced 3.5 km3 (1 cu mi) of lava and resurfaced 123.2 km2 (48 sq mi) of land.
Kīlauea's high state of activity has a major impact on its mountainside ecology where plant growth is often interrupted by fresh tephra and drifting volcanic sulfur dioxide, producing acid rains particularly in a barren area south of its southwestern rift zone known as the Kaʻū Desert. Nonetheless, wildlife flourishes where left undisturbed elsewhere on the volcano and is highly endemic thanks to Kīlauea's (and the island of Hawaiʻi's) isolation from the nearest landmass. Historically, the five volcanoes on the island were considered sacred by the Hawaiian people, and in Hawaiian mythology Kīlauea's Halemaumau Crater served as the body and home of Pele, goddess of fire, lightning, wind, and volcanoes. William Ellis, a missionary from England, gave the first modern account of Kīlauea and spent two weeks traveling along the volcano; since its foundation by Thomas Jaggar in 1912, the Hawaiian Volcano Observatory, located on the rim of Kilauea caldera, has served as the principal investigative and scientific body on the volcano and the island in general. In 1916 a bill forming the Hawaii Volcanoes National Park was signed into law by President Woodrow Wilson; since then the park has become a World Heritage Site and a major tourist destination, attracting roughly 2.6 million people annually.

The painter 
Jules Tavernier was a French painter, illustrator, and an important member of Hawaii’s Volcano School.  He studied with the French painter, Félix Joseph Barrias (1822–1907). he left France in the 1870s and never  return. Tavernier was employed as an illustrator by Harper's Magazine, which sent him, along with Paul Frenzeny, on a year-long coast-to-coast sketching tour in 1873.
 Eventually, he continued westward to Hawaii, where he became quite famous as a landscape painter. He was fascinated by Hawaii’s erupting volcanoes—a subject that pre-occupied him for the rest of his life, which was spent in Hawaii, Canada and the western United States. Tavernier died on 18 May 1889 in Honolulu, Hawaii. He painted several version of the Kilauea erupting between 1880 and the end of his life.
Among the public collections holding paintings by Jules Tavernier are the Brigham Young University Museum of Art (Provo, UT), the Colorado Springs Fine Arts Center (Colorado Springs, CO), the Crocker Art Museum (Sacramento), the Gilcrease Museum (Tulsa, OK), Hearst Art Gallery (Saint Mary's College of California, Moraga, CA), the Honolulu Museum of Art, the Museum of Nebraska Art (Kearney, NE), the Oakland Museum of California, the San Diego Museum of Art, the Stark Museum of Art (Orange, TX), the Society of California Pioneers (San Francisco, CA), the Washington County Museum of Fine Arts (Hagerstown, MD) and the Yosemite Museum (Yosemite National Park).
After his death his art lived on in the hearts and homes of Hawaiians, and many more artists picked up on the volcano landscape theme he started. His Western art was mostly forgotten.
Fifty years after his death the Honolulu Advertiser remembered Jules Tavernier in December 1940 with the comment: “...to the generation which knew King Kalakaua, Tavernier recalls to mind some of the greatest paintings ever made of Hawaii volcanoes.”
At the beginning of the twenty-first century interest has reawakened in Tavernier's Western landscape art; museums are purchasing his pictures and prices for his oil paintings are increasing.
His students included D. Howard Hitchcock (1861–1943), Amédée Joullin (1862–1917), Charles Rollo Peters (1862–1917) and Manuel Valencia (1856–1935).

Thursday, September 8, 2016

DIE ZUGSPITZE PAINTED BY MAX WOLFINGER


MAX  WOLFINGER (1837-1913)
The Zugspitze (2, 962 m- 9, 718 ft) 
Germany

The mountain 
The Zugspitze (2,962m -9,718 ft) above sea level, is the highest peak of the Wetterstein Mountains as well as the highest mountain in Germany. It lies south of the town of Garmisch-Partenkirchen, and the border between Germany and Austria runs over its western summit. South of the mountain is the Zugspitzplatt, a high karst plateau with numerous caves. On the flanks of the Zugspitze are three glaciers, including the two largest in Germany: the Northern Schneeferner with an area of 30.7 hectares and the Höllentalferner with an area of 24.7 hectares. The third is the Southern Schneeferner which covers 8.4 hectares.
The Zugspitze was first climbed on 27 August 1820 by Josef Naus, his survey assistant, Maier, and mountain guide, Johann Georg Tauschl. Today there are three normal routes to the summit: one from the Höllental valley to the northeast; another out of the Reintal valley to the southeast; and the third from the west over the Austrian Cirque (Österreichische Schneekar). One of the best known ridge routes in the Eastern Alps runs along the knife-edged Jubilee Ridge (Jubiläumsgrat) to the summit, linking the Zugspitze, the Hochblassen and the Alpspitze. For mountaineers there is plenty of nearby accommodation. On the western summit of the Zugspitze itself is the Münchner Haus and on the western slopes is the Wiener-Neustädter Hut.
Three cable cars run to the top of the Zugspitze. The first, the Tyrolean Zugspitze Cable Car, was built in 1926 and terminated on an arête below the summit before the terminus was moved to the actual summit in 1991. A rack railway, the Bavarian Zugspitze Railway, runs inside the northern flank of the mountain and ends on the Zugspitzplatt, from where a second cable car takes passengers to the top. The rack railway and the Eibsee Cable Car, the third cableway, transport an average of 500,000 people to the summit each year. In winter, nine ski lifts cover the ski area on the Zugspitzplatt. The weather station, opened in 1900, and the research station in the Schneefernerhaus are mainly used to conduct climate research.
Climbing
At the Zugspitze's summit is the Münchner Haus, a mountain hut (Alpenhütte), a facility built by the German Alpine Club (Deutscher Alpenverein). For more than a hundred years, the summit has also had a weather station, which nowadays also gathers data for the Global Atmosphere Watch.
Climbing up the Zugspitze can involve several routes. The large difference in elevation between Garmisch-Partenkirchen and the summit is 2,200 m (7,200 ft), making the climb a challenge even for trained mountaineers.
On the German side, from Garmisch-Partenkirchen, climbers go either through the Höllental ("Valley of Hell") or the Reintal. The way through the Reintal is the easiest, but also the longest and takes 8 to 10 hours. This path goes through the Partnachklamm, a scenic gorge, then through the Reintal up to the Zugspitzplatt, a barren plateau. from there up to the summit. Climbers can stay for the night at two alpine huts, the "Reintalangerhütte" or the "Knorrhütte".
The more popular, but harder route is through the Höllental. It starts at Hammersbach near Garmisch, goes through the Höllentalklamm, a similar gorge up to the "Höllentalangerhütte", where one can take a meal or stay for the night. It then crosses the Höllentalferner, the remnants of a small glacier. After that it traverses a wall with the help of iron ladders and steps. Klettersteig equipment is recommended for that part. Over the Irmerscharte (a gap) it reaches the summit. This path will take 7 to 8 hours.
From the Austrian village of Ehrwald, there are also two variants. One goes straight through the Western Flank, which is the shortest route overall, but rather hard. It includes a via ferrata, and there is a hut called "Wiener Neustädter Hütte" by the Austrian Alpine Club. An easier path leads via the Ehrwalder Alm, across a small pass called "Gatterl", joining the Reintal path at the Knorrhütte.


The Painter 
Max Wolfinger was a german painter and teacher at several Aargau middle schools and curator.
After Wolfinger had graduated from the school in Mannheim, he attended the High School in his hometown. Then he trained in the studio of painter Willhelm Dünke. Later Wolfinger joined  the painting classes of Grand Ducal Gemäldegalerie in Mannheim. After two years of study in Berlin and Dresden from 1857 to 1859, he moved to Munich. There, Wolfinger devoted himself to landscape painting. His paintings are  typical features of the Munich landscape painting in the second half of the 19th century. His work "Park in Königsfelden" is located in the Aargau art collection and two landscapes "Studies from Bavaria" have the city of Aarau and the Aargauische district school.



Wednesday, September 7, 2016

LES ROUIES PHOTOGRAPHED BY VITTORIO STELLA





VITTORIO SELLA (1859-1943)
Les Rouies (3, 589 m -11,7 75 ft)
France

Photographed in 1900


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

The Mountain 
Les Rouies (3589 meters) is a mountain of Massif des Écrins (Ecrins Range) situated in Isère (France). The highest top of Les Rouies is very central to the rest of the range but rarely visible. It is the meeting point of three major lines of ridges that separate the valleys of Lavey, Gioberney and Chardon. It is towards the latter that flows mainly ice which largely cover the northeast slope of the summit, in developing the glacier of Les Rouies.
The summit itself and most of its eastern slopes consist of gneiss type Lavey strongly enough migmatized.
The glacier of Les Rouies is nowadays suspended above the glacier. It continues eastward for 3 kilometers although it is not yet powered by the serac falls from the first.
The jump between these two glaciers is reinforced by an NS band hornblende gneiss which continues south of the Pass of Les Rouies in the high slopes of the Circus of Gioberney where it chokes down (so it is likely the heart of a syncline).
Just a few decades the ice overflowed laterally to the south (side Gioberney), from the Pass of  Les Rouies towards the Circus of Lauzon, a glacier couloir which is now reduced to two ice corridor.
To the east of the Pass of Les Rouies the edge of the Peak of Vacivier is again integrally formed by gneisses of Lavey.  It is connected at right angles to Peaks du Says at the north ridge of Mount Gioberney which corresponds to a hornblende gneiss new band oriented N-S.
The western side of Rouies is formed by a steep line overlooking the upstream part of the valley of Lavey.  These steep follow at almost exactly the route of the great eastern Faille de Fétoules that stilted the Lavey gneiss its eastern chamber of several hundred meters, so these gneiss dominate there amphibolites circus and the Pointe de la Muande, extension of those of Olan, which normally constitutes the cover.  This major break, NS azimuth, the other continues south through the fault of Gazonné Peak in the Morges range, where it affects the sedimentary rocks and is also dotted with a few outcrops of Triassic: This is the evidence that this accident has worked at the "alpine" distortions (that is to say post-Hercynian).
The melting of glaciers that surround the foot of the steep western Rouies reached in the 1950s, the bedrock of the navel * * deepening of the glacier of the Lavey, now fills the Lake Rouies.
ascent
Climbing routes 
Les Rouies is a classic Ecrins Range climb. Leaving the shelter of Le Pigeonnier,  climb is done in a 4 to 5 hours up and  2 to 3 hours down.  This is a relatively long and varied climb. The passage of Les Rouies which gives access to the glacier can be tricky depending on the year. From the retreat of the glacier, the steep corridor passage can be avoided by the left; the route that we propose goes through the steep corridor and down the left slope. Conditions can change with the seasons ... the view at the top is great.
Sources:
-  Geol-Alp 
- Virtual Mountain

Tuesday, September 6, 2016

MOUNT KENYA PAINTED BY ROBERT McLELLAN-SIM




ROBERT McLELLAN-SIM (1907-1985)
Mount Kenya (5,199 m -17,057 ft) 
Kenya 

The mountain 
Mount Kenya  (5,199 m -17,057 ft)  is the highest mountain in Kenya and the second-highest in Africa, after Kilimanjaro.   The origin of the name Kenya is not clear, but perhaps linked to the Kikuyu, Embu and Kamba words Kirinyaga, Kirenyaa and Kiinyaa which mean "God's resting place" in all three languages.  Mount Kenya is located in central Kenya, about 16.5 kilometres (10.3 mi) south of the equator, around 150 kilometres (93 mi) north-northeast of the capital Nairobi. Mount Kenya is the source of the name of the Republic of Kenya.
Mount Kenya is a stratovolcano created approximately 3 million years after the opening of the East African rift.   Before glaciation, it was 7,000 m (23,000 ft) high. It was covered by an ice cap for thousands of years. This has resulted in very eroded slopes and numerous valleys radiating from the centre.  There are currently 11 small glaciers and 8 peaks of which the highest are : Batian (5,199 m -  (17,057 ft), Nelion (5,188 m - 17,021 ft)) and Point Lenana (4,985 m - 16,355 ft).   The forested slopes are an important source of water for much of Kenya.

There are several vegetation bands from the base to the summit. The lower slopes are covered by different types of forest. Many alpine species are endemic to Mount Kenya, such as the giant lobelias and senecios and a local subspecies of rock hyrax. An area of 715 km2 (276 sq mi) around the centre of the mountain was designated a National Park and listed as a UNESCO World Heritage Site in 1997.  The park receives over 16,000 visitors per year.
The main ethnic groups living around Mount Kenya are Kikuyu, Ameru, Embu and Maasai
The first three are closely related. They all see the mountain as an important aspect of their cultures.  The most famous Maasai  are semi-nomadic people, who use the land to the north of the mountain to graze their cattle. They believe that their ancestors came down from the mountain at the beginning of time.  The Maasai name for Mount Kenya is Ol Donyo Keri, which means 'mountain of stripes', referring to the dark shades as observed from the surrounding plains.  At least one Maasai prayer refers to Mount Kenya: " God bless our children, let them be like the olive tree of Morintat, let them grow and expand, let them be like Ngong Hills like Mt. Kenya, like Mt. Kilimanjaro and multiply in number. "
All these cultures arrived in the Mount Kenya area in the last several hundred years.
Climbing routes 
Most of the peaks on Mount Kenya have been summited. The majority of these involve rock climbing as the easiest route, although some only require a scramble or a walk. The highest peak that can be ascended without climbing is Point Lenana (4,985 m -16,355 ft).  The majority of the 15,000 visitors to the national park each year climb this peak.  In contrast, approximately 200 people summit Nelion and 50 summit Batian, the two highest peaks.
When ascended directly, Batian is usually climbed via the North Face Standard Route, UIAA grade IV+ (or 5.6+ YDS).  It was first ascended on 31 July 1944 by Firmin and Hicks.  The route is usually climbed in two days. The Normal Route is the most climbed route up Nelion, and thence across to Batian. It was first climbed by Shipton and Wyn-Harris on 6 January 1929.  It is possible to traverse between the two peaks, via the Gates of Mist, but this often involves spending a night in the Howell hut on top of Nelion. There is a bolted abseil descent route off Nelion. 
Mount Kenya's climbing seasons are a result of its location only 20 km (12 mi) from the equator. During the northern summer the rock routes on the north side of the peak are in good summer condition, while at the same time the ice routes on the south side of the peak are prime shape. The situation is reversed during the southern summer. The two seasons are separated by several months of rainy season before and after, during which climbing conditions are generally unfavorable.
Mount Kenya is home to several good ice routes, the two most famous being the Diamond Couloir and the Ice Window route. Snow and ice levels on the mountain have been retreating at an accelerated rate in recent years, making these climbs increasingly difficult and dangerous. The Diamond Couloir, a steep ice couloir fed by the fusion of the upper Diamond Glacier and pioneered in 1975 by Yvon Chouinard and Michael Covington, was once climbable in summer or winter but now is virtually unclimbable in summer conditions and is seldom deemed in climbable condition even in winter.  Last climbing reports describe the route very difficult, especially in the lower section. The route has changed into a modern ice climb with a very difficult 60m first pitch, starting with 8m of overhanging M7 dry tooling, followed by 50m of USA Grade V ice and by others 6 pitches of moderate climbing on good ice and finally one pitch of water ice USA Grade IV+ ice at the headwall before getting to the Upper Diamond Glacier.
The satellite peaks around the mountain also provide good climbs. These can be climbed in Alpine style and vary in difficulty from a scramble to climbing at UIAA grade VI. 

The painter 
Robert Mc Lellan Sim (RMS) was born in Newport, Gwent, Wales.  He attended Newport Secondary School from 1919 to 1924. In 1926 he won three prizes for graphic arts at the National Eisteddfod of Wales and in 1926 he was awarded a scholarship to study at the Newport School of Arts and Crafts (now part of the University of Wales). After finishing college with a Board of Education Teachers Certificate he attended the Newport Institute for Research into Art and Design (N.I.R.A.D.). Years later NIRAD merged with its sister institute from Cardiff to create the Wales Institute for Research into Art and Design.  
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, mostly in Kenya and 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.
RMS’s move to Kenya in 1947 was a search for colour and space. His brief war service in the Far East obviously gave him a taste for warmer climes, brighter colours and wide spaces, aspects that were to feature strongly in his African paintings. He is on record as saying that he preferred landscapes and seascapes to portraits because he could go away on his own, often combining his field trips with fishing expeditions, during which he could turn to his sketch book when the trout would not jump! 
In 1958, when back in England on home-leave, he told The Worthing Herald: 
”I always paint sunshine. It was the sunshine that attracted me. I can’t paint greyness and cloudy skies, so Kenya is definitely the place for me.” 

Monday, September 5, 2016

GUNUNG MERAPI PAINTED BY RADEN SALEH




SALEH (1811-1880) 
 Gunung Merapi or Mount Merapi (2,914m - 9,500 ft)
Indonesia (Java) 

  1. Gunung MerapiDuring the1865 eruption
2. Gurnung Merbabu and  Gunung Merapi

The mountain 
Mount Merapi or Gunung Merapi (2,914m - 9,500 ft)  is an active stratovolcano located on the border between Central Java and Yogyakarta, Indonesia. It is the most active volcano in Indonesia and has erupted regularly since 1548. It is located approximately 28 kilometres (17 mi) north of Yogyakarta city which has a population of 2.4 million, and thousands of people live on the flanks of the volcano, with villages as high as 1,700 metres (5,600 ft) above sea level.
Smoke can often be seen emerging from the mountaintop, and several eruptions have caused fatalities. Pyroclastic flow from a large explosion killed 27 people on 22 November 1994, mostly in the town of Muntilan, west of the volcano.Another large eruption occurred in 2006, shortly before the Yogyakarta earthquake. In light of the hazards that Merapi poses to populated areas, it has been designated as one of the Decade Volcanoes.
On 25 October 2010 the Indonesian government raised the alert for Mount Merapi to its highest level and warned villagers in threatened areas to move to safer ground. People living within a 20 km (12 mi) zone were told to evacuate. Officials said about 500 volcanic earthquakes had been recorded on the mountain over the weekend of 23–24 October, and that the magma had risen to about 1 kilometre (3,300 ft) below the surface due to the seismic activity. On the afternoon of 25 October 2010 Mount Merapi erupted lava from its southern and southeastern slopes.
The mountain was still erupting on 30 November 2010, but due to lowered eruptive activity on 3 December 2010 the official alert status was reduced to level 3. The volcano is now 2930 metres high, 38 metres lower than before the 2010 eruptions.
After a large eruption in 2010 the characteristic of Mount Merapi was changed. On 18 November 2013 Mount Merapi burst smoke up to 2,000 meters high, one of its first major phreatic eruptions after the 2010 eruption. Researchers said that this eruption occurred due to combined effect of hot volcanic gases and abundant rainfall.
In 2004 an area of 6,410 hectares around Mount Merapi was established as a national park. The decision of the Ministry of Forestry to declare the park has been subsequently challenged in court by The Indonesian Forum for Environment, on grounds of lack of consultation with local residents. During the 2006 eruption of the volcano it was reported that many residents were reluctant to leave because they feared their residences would be confiscated for expansion of the national park, meaning they wouldn't have a house.
Mythology
Merapi is very important to Javanese, especially those living around its crater. As such, there are many myths and beliefs attached to Merapi. It is believed that when the gods had just created the Earth, Java was unbalanced because of the placement of Mount Jamurdipo on the west end of the island. In order to assure balance, the gods (generally represented by Batara Guru) ordered the mountain to be moved to the centre of Java. However, two armourers, Empu Rama and Empu Permadi, were already forging a sacred keris at the site where Mount Jamurdipo was to be moved. The gods warned them that they would be moving a mountain there, and that they should leave; Empu Rama and Empu Permadi ignored that warning. In anger, the gods buried Empu Rama and Empu Permadi under Mount Jamurdipo; their spirits later became the rulers of all mystical beings in the area. In memory of them, Mount Jamurdipo was later renamed Mount Merapi, which means "fire of Rama and Permadi.
The Javanese believe that the Earth is not only populated by human beings, but also by spirits (makhluk halus). Villages near Merapi believe that one of the palaces (in Javanese kraton) used by the rulers of the spirit kingdom lies inside Merapi, ruled by Empu Rama and Empu Permadi. This palace is said to be a spiritual counterpart to the Yogyakarta Sultanate, complete with roads, soldiers, princes, vehicles, and domesticated animals. Besides the rulers, the palace is said to also be populated by the spirits of ancestors who died as righteous people. The spirits of these ancestors are said to live in the palace as royal servants (abdi dalem), occasionally visiting their descendants in dreams to give prophecies or warnings. "
Spirits of Merapi
To keep the volcano quiet and to appease the spirits of the mountain, the Javanese regularly bring offerings on the anniversary of the sultan of Yogyakarta's coronation. For Yogyakarta Sultanate, Merapi holds significant cosmological symbolism, because it is forming a sacred north-south axis line between Merapi peak and Southern Ocean (Indian Ocean). The sacred axis is signified by Merapi peak in the north, the Tugu Yogyakarta (id) monument near Yogyakarta main train station, the axis runs along Malioboro street to Northern Alun-alun (square) across Keraton Yogyakarta (sultan palace), Southern Alun-alun, all the way to Bantul and finally reach Samas and Parangkusumo beach on the estuary of Opak river and Southern Ocean. This sacred axis connected the hyangs or spirits of mountain revered since ancient times—often identified as "Mbah Petruk" by Javanese people—The Sultan of Yogyakarta as the leader of the Javanese kingdom, and Nyi Roro Kidul as the queen of the Southern Ocean, the female ocean deity revered by Javanese people and also mythical consort of Javanese kings.

The painter 
Raden Saleh Sjarif Boestaman was a pioneering Indonesian Romantic painter of Arab-Javanese ethnicity.  He was considered to be the first "modern" artist from Indonesia (then Dutch East Indies), and his paintings corresponded with nineteenth-century romanticism which was popular in Europe at the time. He also expressed his cultural roots and inventiveness in his work.
Raden Saleh Sjarif Boestaman was born in 1811 in Semarang on the island of Java into a noble Hadhrami family where his father was Sayyid Husen bin Alwi bin Awal bin Yahya, an Indonesian of Arab descent. 
Young Raden Saleh was first taught in Bogor by the Belgian artist A.J. Payen. Payen acknowledged the youth's talent, and persuaded the colonial government of the Netherlands to send Raden Saleh to the Netherlands to study art.  He arrived in Europe in 1829 and began to study under Cornelius Kruseman and Andreas Schelfhout. From Schelfhout, Raden Saleh furthered his skills as a landscape painter. 
During his stay in Paris, Saleh met Horace Vernet whose painting frequently took themes of African wildlife. Compared to Vernet, Saleh's painting seems to be more influenced by the romantic painter Eugène Delacroix. This could be seen in one of Saleh's work, Hunting Lion, 1840, which has similar composition to Delacroix's La Liberté guidant le peuple. However, Werner Kraus, a researcher in the Southeast-Asian Art Center of Passau, German, said that Saleh "never mentioned Delacroix. Perhaps he saw Delacroix's, and possibly Vernet's, works during an exhibition."
While in Europe, in 1836 Saleh became the first indigenous Indonesian to be initiated into Freemasonry. From 1839, he spent five years at the court of Ernest I, Duke of Saxe-Coburg and Gotha, who became an important patron.
Raden Saleh visited several European cities.  Many of his paintings were exhibited at the Rijksmuseum in Amsterdam. Several of his paintings were destroyed when the Colonial Dutch pavilion in Paris was burnt in 1931.
Raden Saleh returned to Dutch East Indies in 1852 after living in Europe for 20 years.  He worked as conservator for the colonial collection of government art and continued painting portraits of the Javanese aristocracy, and many more landscape paintings. 

Sunday, September 4, 2016

GLARAMARA PAINTED BY JOHN CONSTABLE


JOHN CONSTABLE (1776-1837) 
Glaramara (783m - 2,569 ft)   
United Kingdom

 In  View toward Glaramara, 1806- V & A museum. London 

The mountain 
Glaramara is a fell in the English Lake District in Cumbria. It is a substantial fell that is part of a long ridge that stretches for over six kilometres from Stonethwaite in Borrowdale up to the important mountain pass of Esk Hause. The summit of Glaramara at 783 m (2,569 ft) is the central point of this ridge, which separates the valleys of Langstrath and Grains Gill. However, the ridge has two additional fells, numerous subsidiary tops and several small tarns making its traverse an appealing and challenging walk.
The fell's unusual and pleasant-sounding name, previously only applied to the summit rocks, has now been accepted as the name for the whole fell. Like many fells of the district the name comes from a series of Old Norse words which in this case is translated as “Hill with the mountain hut by a chasm”.
The direct ascent of the fell is usually started from the Borrowdale road midway between Rosthwaite and Seatoller. From here it is possible to ascend on either of the ridges to the east or west of Combe Gill, the east ridge being the best because it allows for the climbing of Rosthwaite Fell and its subsidiary summit of Dovenest Top (632 m). On this route two other tops of Glaramara, Combe Door Top (676 m) and Combe Head (735 m), are passed over. Both of these are Nuttalls. Combe Head gives fine views down into Combe Gill and from here it is short climb to the twin summits of Glaramara.
Reference :
 - Wikipedia  

The painter
John Constable was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home—now known as "Constable Country"— which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling".
His most famous paintings include Wivenhoe Park of 1816, Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art, Constable was never financially successful. He did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. His work was embraced in France, where he sold more works than in his native England and inspired the Barbizon school.
Constable quietly rebelled against the artistic culture that taught artists to use their imagination to compose their pictures rather than nature itself. He told Leslie, "When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture".
Constable was never satisfied with following a formula. "The world is wide", he wrote, "no two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of all the world; and the genuine productions of art, like those of nature, are all distinct from each other."  Constable painted many full-scale preliminary sketches of his landscapes to test the composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time, and they continue to interest artists, scholars and the general public. The oil sketches of The Leaping Horse and The Hay Wain, for example, convey a vigour and expressiveness missing from Constable's finished paintings of the same subjects. Possibly more than any other aspect of Constable's work, the oil sketches reveal him in retrospect to have been an avant-garde painter, one who demonstrated that landscape painting could be taken in a totally new direction.
Constable's watercolours were also remarkably free for their time: the almost mystical Stonehenge, 1835, with its double rainbow, is often considered to be one of the greatest watercolours ever painted.[21] When he exhibited it in 1836, Constable appended a text to the title: "The mysterious monument of Stonehenge, standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period."
The sketches themselves were the first ever done in oils directly from the subject in the open air. To convey the effects of light and movement, Constable used broken brushstrokes, often in small touches, which he scumbled over lighter passages, creating an impression of sparkling light enveloping the entire landscape.
Reference 
 - John Constable website