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Monday, September 19, 2016

THE ROCK OF GIBRALTAR BY FRANCIS FRITH




FRANCIS FRITH  (1822-1898) 
 Rock of Gibraltar  (426 m -1,398 ft)
United Kingdom - Spain border

1.  In Rock of Gibraltar, photo Collodion  process, 1850 
2.  In Rock of Gibraltar by an anonymous painter, oil on canvas,  1810  



The mountain
The Rock of Gibraltar  (426 m -1,398 ft) in spanish : El Peсуn de Gibraltar, sometimes called by its original Latin name, Calpe, is a monolithic limestone promontory located in the British overseas territory of Gibraltar, off the southwestern tip of Europe on the Iberian Peninsula. It is 426 m (1,398 ft) high. The Rock is Crown property of the United Kingdom, and borders Spain. Most of the Rock's upper area is covered by a nature reserve, which is home to around 300 Barbary macaques. These macaques, as well as a labyrinthine network of tunnels, attract a large number of tourists each year.  The Rock of Gibraltar was one of the Pillars of Hercules and was known to the Romans as Mons Calpe, the other pillar being Mons Abyla or Jebel Musa on the African side of the Strait. In ancient times, the two points marked the limit to the known world, a myth originally fostered by the Greeks and the Phoenicians.
Gibraltar is not the southernmost point of Europe, which is the Punta de Tarifa, at 25 km southwest of Gibraltar, as the crow flies.  Gibraltar is surrounded by the Mediterranean Sea and has no contact with the Atlantic Ocean.

The photographer
Francis Frith  was an English photographer of the Middle East and many towns in the United Kingdom. After attending a Quaker school, he started in the cutlery business and suffered a nervous breakdown in 1843.  In 1850 he started a photographic studio in Liverpool, known as Frith & Hayward.  A successful grocer, and later, printer, Frith fostered an interest in photography, becoming a founding member of the Liverpool Photographic Society in 1853.  Frith sold his companies in 1855 in order to dedicate himself entirely to photography. He journeyed to the Middle East on three occasions, the first of which was a trip to Egypt in 1856 with very large cameras (16" x 20"). He used the collodion process, a major technical achievement in hot and dusty conditions.
During his travels he noted that tourists were the main consumers of the views of Italy, but armchair travellers bought scenes from other parts of the world in the hope of obtaining a true record, "far beyond anything that is in the power of the most accomplished artist to transfer to his canvas." These words express the ambitious goal that Frith set for himself when he departed on his first trip to the Nile Valley in 1856. He also made two other trips before 1860, extending his photo-taking to Palestine and Syria.  In addition to photography, he also kept a journal during his travels elaborating on the difficulties of the trip, commenting on the "smothering little tent" and the collodion fizzing - boiling up over the glass. Frith also noticed the compositional problems regarding the point of view from the camera. According to Frith, "the difficulty of getting a view satisfactorily in the camera: foregrounds are especially perverse; distance too near or too far; the falling away of the ground; the intervention of some brick wall or other common object... Oh what pictures we would make if we could command our point of views." An image he took known as the "Approach to Philae" is just one example which elaborates his ability to find refreshing photographic solutions to these problems. (cited from "A World History of Photography")
Reference: 

Sunday, September 18, 2016

GRAND MUVERAN PAINTED BY FERDINAND HODLER





FERDINAND HODLER (1853-1918) 
Le Grand Muveran (3,051m - 10,009 ft)
Switzerland

1. Kunstmuseum Winterthur, 1912
2. Private collection, 1912

The mountain 
The Grand Muveran (3,051 m) is a Swiss summit, located on the border between Vaud and Valais canton. It is part of the range in the Bernese Alps and extends the Dents de Morcles to les Diablerets through the valley of Nant. This is the third highest peak in the canton of Vaud after Les Diablerets and Oldenhorn.  The Petit Muveran is a bit southwest and culminates at  (2,810m -9,21916 ft). 
The tips are easily recognizable from the north, the Grand Muveran forming a wide, solid wall and Little Muveran resembling a small tooth. They are visible from afar, the Chablais to the Lausanne area. Valais side, the Grand Muveran dominates Ovronnaz and can be seen from the plain to the height of Riddes.
The Grand Muveran was the subject of the  painting (above) by Ferdinand Hodler in 1912 and sold for a little over 1,5 million Swiss francs in 2003.

The Painter 
Ferdinand Hodler was one of the best-known Swiss painters of the 19th century. His early works were portraits, landscapes, and genre paintings in a realistic style. Later, he adopted a personal form of symbolism he called Parallelism.
In the last decade of the nineteenth century his work evolved to combine influences from several genres including Symbolism and Art Nouveau. In 1890 he completed Night, a work that marked Hodler's turn toward symbolist imagery. It depicts several recumbent figures, all of them relaxed in sleep except for an agitated man who is menaced by a figure shrouded in black, which Hodler intended as a symbol of death. Hodler developed a style he called "Parallelism" that emphasized the symmetry and rhythm he believed formed the basis of human society. In paintings such as The Chosen One, groupings of figures are symmetrically arranged in poses suggestive of ritual or dance.
Hodler painted number of large-scale historical paintings, often with patriotic themes. In 1897 he accepted a commission to paint a series of large frescoes for the Weapons Room of the Schweizerisches Landesmuseum in Zurich. The compositions he proposed, including The Battle of Marignan which depicted a battle that the Swiss lost, were controversial for their imagery and style, and Hodler was not permitted to execute the frescoes until 1900.
Hodler's work in his final phase took on an expressionist aspect with strongly coloured and geometrical figures. Landscapes were pared down to essentials, sometimes consisting of a jagged wedge of land between water and sky.

Saturday, September 17, 2016

MOUNT MORAN PAINTED BY EDWARD HOPPER


EDWARD HOPPER (1882-1967)
Mount Moran (3,842 m -12,605 ft
 United States of America  (Wyoming)



The mountain
Mount Moran is a mountain in Grand Teton National Park of western Wyoming, USA. The mountain is named for Thomas Moran, an American western frontier landscape artist. Mount Moran dominates the northern section of the Teton Range rising 6,000 feet (1,800 m) above Jackson Lake.  Several active glaciers exist on the mountain with Skillet Glacier plainly visible on the monolithic east face. Like the Middle Teton in the same range, Mount Moran's face is marked by a distinctive basalt intrusion known as the Black Dike.
On November 21, 1950, a C-47 cargo plane owned by the New Tribes Mission crashed on Mount Moran during a storm, killing all 21 on board. A rescue party organized by Paul Petzoldt located the wreckage on November 25, but the extreme location of the crash made it impossible to recover the plane or the bodies. The wreckage remains on the mountain today, but the Park Service discourages direct climbs to the site.
Climbing
The first ascent of Mount Moran was made on July 22, 1922 by LeGrand Hardy, Bennet McNulty and Ben C. Rich of the Chicago Mountaineering Club via the Skillet Glacier route. The Skillet Glacier still provides perhaps the easiest and most direct route to the summit and is rated 5.4. As the name implies, most of the climb is on the steep snow and ice of Skillet Glacier, and an ice axe and crampons should be used in the ascent.
Mount Moran is an impressive mountain which would make it attractive to mountaineers.  However, the comparative difficulty of the approach to the climbs makes it a much less popular climb than the Grand Teton and other peaks to the south. No trails to Mount Moran have been maintained for over twenty years, and any approach overland requires a great deal of bushwhacking through vegetation, deadfalls and bogs along the perimeter of Leigh Lake. Instead, most climbers choose to canoe from String Lake, across Leigh Lake and then pick their way to their respective route; but even this may require some overland route finding. As a result, most climbs on Mount Moran tend to take several days even when the technical portion of the climb is comparatively brief.
The most popular route up Mount Moran is the CMC route, named for the Chicago Mountaineering Club. The CMC is rated 5.5, and ascends the east face just south of the Black Dike. The CMC climbs good rock and is essentially free of snow and ice. It also has the advantage of a good camp high on the flank of the mountain.  The Direct South Buttress route, rated 5.7 A3, is recognized in the historic climbing text Fifty Classic Climbs of North America and considered a classic around the world.
References :
- Mount Moran in Summitpost.org 
- Wikipedia Moutn Moran Page

 The painter
Edward Hopper was a American realist painter and printmaker.
Conservative in politics and social matters (Hopper asserted for example that "artists' lives should be written by people very close to them"), he accepted things as they were and displayed a lack of idealism. Cultured and sophisticated, he was well-read, and many of his paintings show figures reading. He was generally good company and unperturbed by silences, though sometimes taciturn, grumpy, or detached. He was always serious about his art and the art of others, and when asked would return frank opinions.
Hopper's most systematic declaration of his philosophy as an artist was given in a handwritten note, entitled "Statement", submitted in 1953 to the journal, Reality:
"Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world. No amount of skillful invention can replace the essential element of imagination. One of the weaknesses of much abstract painting is the attempt to substitute the inventions of the human intellect for a private imaginative conception.
The inner life of a human being is a vast and varied realm and does not concern itself alone with stimulating arrangements of color, form and design.
The term life used in art is something not to be held in contempt, for it implies all of existence and the province of art is to react to it and not to shun it.
Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again become great."
Though Hopper claimed that he didn't consciously embed psychological meaning in his paintings, he was deeply interested in Freud and the power of the subconscious mind. He wrote in 1939: "So much of every art is an expression of the subconscious that it seems to me most of all the important qualities are put there unconsciously, and little of importance by the conscious intellect."
Hopper was stoic and fatalistic—a quiet introverted man with a gentle sense of humor and a frank manner. Hopper was someone drawn to an emblematic, anti-narrative symbolism, who "painted short isolated moments of configuration, saturated with suggestion".  His silent spaces and uneasy encounters "touch us where we are most vulnerable", and have "a suggestion of melancholy, that melancholy being enacted". His sense of color revealed him as a pure painter as he "turned the Puritan into the purist, in his quiet canvasses where blemishes and blessings balance".  According to critic Lloyd Goodrich, he was "an eminently native painter, who more than any other was getting more of the quality of America into his canvases".
Hopper derived his subject matter from two primary sources: one, the common features of American life (gas stations, motels, restaurants, theaters, railroads, and street scenes) and its inhabitants; and two, seascapes and rural landscapes, a few (2 or 3, not much)  mountains landscape. Regarding his style, Hopper defined himself as "an amalgam of many races" and not a member of any school, particularly the "Ashcan School".  Once Hopper achieved his mature style, his art remained consistent and self-contained, in spite of the numerous art trends that came and went during his long career.
Hopper's seascapes fall into three main groups: pure landscapes of rocks, sea, and beach grass; lighthouses and farmhouses; and sailboats. Sometimes he combined these elements.
Urban architecture and cityscapes also were major subjects for Hopper. He was fascinated with the American urban scene, "our native architecture with its hideous beauty, its fantastic roofs, pseudo-gothic, French Mansard, Colonial, mongrel or what not, with eye-searing color or delicate harmonies of faded paint, shouldering one another along interminable streets that taper off into swamps or dump heaps."
References

Friday, September 16, 2016

THE JUNGFRAU PAINTED BY JOHN MARTIN


JOHN MARTIN (1789-1854)
The Jungfrau  (4,158 m -13,642 ft)
Switzerland

 In Manfred on the Jungfrau, 1837

The mountain 
The Jungfrau (4,158m -13,642 ft)) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mцnch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps.
The summit was first reached on August 3, 1811 by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened.
The construction of the Jungfrau railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mцnch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.
Reference :

The Painter 
John Martin was an English Romantic painter, engraver and illustrator. He was celebrated for his typically vast and melodramatic paintings of religious subjects and fantastic compositions, populated with minute figures placed in imposing landscapes. Martin's paintings, and the engravings made from them, enjoyed great success with the general public—in 1821 Lawrence referred to him as "the most popular painter of his day"—but were lambasted by Ruskin and other critics.
His first exhibited subject picture, Sadak in Search of the Waters of Oblivion (now in the St. Louis Art Museum), was hung in the Ante-room of the Royal Academy in 1812, and sold for fifty guineas. The piece depicts a scene from the Tales of Two Genii" It was followed by the Expulsion (1813), Adam's First Sight of Eve (1813), Clytie (1814), Joshua Commanding the Sun to Stand Still upon Gibeon (1816) and The Fall of Babylon (1819). In 1820 appeared his Belshazzar's Feast, which excited much favourable and hostile comment, and was awarded a prize of Ј200 at the British Institution, where the Joshua had previously carried off a premium of Ј100. Then came The Destruction of Pompeii and Herculaneum (1822), The Creation (1824), the Eve of the Deluge (1840), and a series of other Biblical and imaginative subjects. The Plains of Heaven is thought by some to reflect his memories of the Allendale of his youth.
Martin's large paintings were closely connected with contemporary dioramas or panoramas, popular entertainments in which large painted cloths were displayed, and animated by the skilful use of artificial light. Martin has often been claimed as a forerunner of the epic cinema. These dioramas were tremendous successes with their audiences, but wounded Martin's reputation in the serious art world.The painting The Destruction of Sodom and Gomorrah, 1852 is currently at the Laing Art Gallery in Newcastle upon Tyne.

Thursday, September 15, 2016

MYTIKAS (MOUNT OLYMPUS) PAINTED BY EDWARD LEAR



EDWARD LEAR (1812-1888) 
Mytikas -Mount Olympus (2, 918 m- 9,573 ft)
Greece

Painted in 1849 - The MET, New York 

The mountain
Mount Olympus or Olympos, or Oros Olympos is the highest mountain in Greece and the second highest mountain in the Balkans.  Mount Olympus has 52 peaks, deep gorges, and exceptional biodiversity.  The highest peak Mytikas, meaning "nose", rises to 2,918 m -9,573 ft. It is one of the highest peaks in Europe in terms of topographic prominence.  It is located in the Olympus Range on the border between Thessaly and Macedonia, between the regional units of Pieria and Larissa, about 80 km (50 mi) southwest from Thessaloniki
There are multiple theories for the origin of the name Olympus. It has been suggested that it means "sky", "bright", "high" or "rock". One theory holds that Olympus is a prehellenic toponym that simply means "mountain". In Ottoman times, the Turkish name for the mountain was "Semavat Evi", meaning "sky house".
Olympus was notable in Greek mythology as the home of the  the Twelve Olympian gods, on the Mytikas peak.   It is the setting of many Greek mythical stories. The Twelve Olympian gods lived in the gorges, where there were also their palaces. Pantheon (today Mytikas) was their meeting place and theater of their stormy discussions. The Throne of Zeus (today Stefani) hosted solely him, the leader of the gods. From there he unleashed his thunderbolts, expressing his godly wrath. The Twelve Olympians were Zeus, Hera, Demeter, Poseidon, Athena, Apollo, Artemis, Aphrodite, Ares, Hermes, Hephaestus, and the twelfth was either Hestia or Dionysus.  In Pieria, on Olympus' northern foot, the mythological tradition had placed the nine Muses, patrons of the Fine Arts, daughters of Zeus and the Titanide Mnemosyne: Calliope (Epic Poetry), Clio (History), Erato (Love Poetry), Euterpe (Music), Melpomene, (Tragedy), Polyhymnia (Hymns), Terpsichore (Dance), Thalia (Comedy) and Urania (Astronomy).
Mount Olympus is also noted for its very rich flora with several species. It has been a National Park, the first in Greece, since 1938. It is also a World's Biosphere Reserve.
Every year thousands of people visit Olympus to admire its fauna and flora, to tour its slopes, and reach its peaks. Organized mountain refuges and various mountaineering and climbing routes are available to visitors who want to explore it. The usual starting point is the town of Litochoro, on the eastern foothills of the mountain, 100 km from Thessaloniki, where, in the beginning of every summer, the Olympus Marathon terminates.
Climbing 
Ancient Greeks likely never tried to climb Olympus' peaks Pantheon and the Throne of Zeus which they considered to be the Gods ' home. But surely they reached the nearest peak, nowadays called Aghios Antonios, from where they had a view of the two peaks and where they left offerings, as recent archaeological findings indicate. 
In the modern era, a series of explorers tried to study the mountain and to reach, unsuccessfully, its summit. Examples include the French archaeologist Leon Heuzey (1855), the German explorer Heinrich Barth (1862), and the German engineer Edward Richter. Richter tried to reach the summit in 1911 but was abducted by klephts, who also killed the Ottoman gendarmes that accompanied him.
On 2 August 1913,  just one year after the liberation of Greece from Ottoman rule,  the until then untrodden summit of Olympus was finally reached. The Swiss Frédéric Boissonnas and Daniel Baud-Bovy, aided by a hunter of wild goats from Litochoro, Christos Kakalos, were the first to reach Greece's highest peak.  Kakalos, who had much experience climbing Olympus, was the first of the three to climb Mytikas.  Afterwards and till his death (1976) he was the official guide of Olympus.
In 1921, he and Marcel Kurz reached the second highest summit of Olympus, Stefani.  Based on these explorations, Kurz in 1923 edited Le Mont Olympe, a book that includes the first detailed map of the summits.
 In 1928, the painter Vasilis Ithakisios climbed Olympus together with Kakalos, reaching a cave that he named Shelter of the Muses, and he spent many summers painting views of the mountain. Olympus was later photographed and mapped in detail by others, and a series of successful climbings and winter ascents of the steepest summits in difficult weather conditions took place.
Climbing Mount Olympus is a non-technical hike, except for the final section from the Skala summit to the Mytikas peak, which is a YDS class 3 rock scramble. It is estimated that 10,000 people climb Mount Olympus each year, most of them reaching only the Skolio summit. Most climbs of Mount Olympus start from the town of Litochoro, which took the name City of Gods because of its location at the foot of the mountain. From there a road goes to Prionia, where the hike begins at the bottom of the mountain.
Reference 

The painter 
Edward Lear was an English artist, illustrator, musician, author and poet, and is known now mostly for his literary nonsense in poetry and prose and especially his limericks, a form he popularised. His principal areas of work as an artist were threefold: as a draughtsman employed to illustrate birds and animals; making coloured drawings during his journeys, which he reworked later, sometimes as plates for his travel books; as a (minor) illustrator of Alfred Tennyson's poems. As an author, he is known principally for his popular nonsense collections of poems, songs, short stories, botanical drawings, recipes, and alphabets. He also composed and published twelve musical settings of Tennyson's poetry.

Lear was already drawing "for bread and cheese" by the time he was aged 16.

In 1842,  Lear began a journey into the Italian peninsula, travelling through

the LazioRomeAbruzzoMoliseApuliaCalabria, and Sicily.  In personal notes, together with drawings, Lear gathered his impressions on the Italian way of life, folk traditions, and the beauty of the ancient monuments. Of particular interest in Lear was the Abruzzo, which he visited in 1843, through the Marsica (Celano, Avezzano, Alba Fucens, Trasacco) and the plateau of Cinque Miglia (Castel di Sangro and Alfedena), by an old sheep track of the shepherds.

Among his travels, he visited Greece and Egypt during 1848–49, and toured India and Ceylon during 1873–75. While travelling he produced large quantities of coloured wash drawings in a distinctive style, which he converted later in his studio into oil and watercolour paintings, as well as prints for his books. His landscape style often shows views with strong sunlight, with intense contrasts of colour.  Between 1878 and 1883 Lear spent his summers on Monte Generoso, a mountain on the border between the Swiss canton of Ticino and the Italian region of Lombardy.  His watercolor Mount Olympus dated 1849 in in the MET in New York City.  His oil painting The Plains of Lombardy from Monte Generoso is in the Ashmolean Museum Oxford (UK).
Reference 

Wednesday, September 14, 2016

SCHRECKHORN PAINTED BY JOHN SINGER SARGENT

http://wanderingvertexes.blogspot.com

JOHN SINGER SARGENT  (1856-1925)
Schreckhorn (4,078 m -13,379 ft)
Switzerland

 The MET, New York 

The mountain 
The Schreckhorn (4,078 m -13,379 ft)   is the highest peak located entirely in the canton of Berne Eastern Bernese Oberlands Alps, between Grimsel and the Fiescher and Eismeer Glaciers.  It forms with Lauteraarhorn an impressive double-summit. The Schreckhorn is the northernmost Alpine four-thousander and the northernmost summit rising above 4,000 metres in Europe, considered as  the most rugged and hardest 4.000 meter mountain in the Bernese Alps. 
This mountain is hard to approach, regardless from which side. In this point we can compare Schreckhorn with mountains like Aiguille Verte or La Dent Blanche.
The first ascent was on 16 August 1861 by Leslie Stephen, Ulrich Kaufmann, Christian Michel and Peter Michel. Their route of ascent, via the upper Schreck Couloir to the Schrecksattel and then by the south-east ridge, was the normal route for the following fifty years, but is now seldom used.
The peak had been attempted several times before this, most notably by the Swiss naturalist Joseph Hugi in 1828 (the Schreckhorn's Hugisattel is named after him) and the guided party of Pierre Jean Edouard Desor (a Swiss geologist) in 1842. 'The ambition of hoisting the first flag on the Schreckhorn, the one big Bernese summit which was untrodden, was far too obvious for us to resist', Desor later wrote, but they climbed a secondary summit of the Lauteraarhorn by mistake.
The first ascent by the south-west ridge (AD+) – the normal route by which the Schreckhorn is climbed – was made by John Wicks, Edward Branby and Claude Wilson on 26 July 1902. They decided to climb the very steep ridge without the help of local guides and succeeded in reaching the summit. The north-west ridge (the Andersongrat, D) was first climbed by John Stafford Anderson and George Percival Baker, with guides Ulrich Almer and Aloys Pollinger on 7 August 1883.

The painter 
John Singer Sargent  was an American artist who  created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and charcoal drawings. His oeuvre documents worldwide travel, from Venice to the Tyrol, Switzerland, Corfu, the Middle East, Montana, Maine, and Florida.
He was trained in Paris prior to moving to London. Sargent enjoyed international acclaim as a portrait painter, but  in later life he expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. He lived most of his life in Europe.  Each destination offered pictorial stimulation and treasure.  Even at his leisure, in escaping the pressures of the portrait studio, he painted with restless intensity, often painting from morning until night.  His hundreds of watercolors of Venice are especially notable, many done from the perspective of a gondola. His colors were sometimes extremely vivid and as one reviewer noted, "Everything is given with the intensity of a dream." In the Middle East and North Africa Sargent painted Bedouins, goatherds, and fisherman. In the last decade of his life, he produced many watercolors in Maine, Florida, and in the American West, of fauna, flora, and native peoples.
With his watercolors, Sargent was able to indulge his earliest artistic inclinations for nature, architecture, exotic peoples, and noble mountain landscapes. And it is in some of his late works where one senses Sargent painting most purely for himself. His watercolors were executed with a joyful fluidness.   His first major solo exhibit of watercolor works was at the Carfax Gallery in London in 1905. In 1909, he exhibited eighty-six watercolors in New York City, eighty-three of which were bought by the Brooklyn Museum. Evan Charteris wrote in 1927: 'To live with Sargent's water-colours is to live with sunshine captured and held, with the luster of a bright and legible world, 'the refluent shade' and 'the Ambient ardours of the noon.'
Although not generally accorded the critical respect given Winslow Homer, perhaps America's greatest watercolorist, scholarship has revealed that Sargent was fluent in the entire range of opaque and transparent watercolor technique, including the methods used by Homer. 

2016 - Wandering Vertexes...
by Francis Rousseau 

Tuesday, September 13, 2016

TRIGLAV PAINTED BY MARCUS PERNHART




MARCUS  PERNHART (1824-1871)
 Triglav (2,864m - 9,396 ft)  
Slovenia 

1.  In Triglav in the mist, oil on canvas,  Landesmuseum für Kärnten
2. In Triglav in sunset, oil on canvas,  Landesmuseum für Kärnten

The mountain 
Triglav (2,864m - 9,396 ft), is the highest mountain in Slovenia and the highest peak of the Julian Alps. The mountain is the pre-eminent symbol of the Slovene NationA stylized depiction of Triglav's distinctive shape with its three peaks  is the central element of the Slovene coat of arms, designed by the sculptor Marko Pogačnik, and is in turn featured on the flag of Slovenia. Slovenia is the only country in Europe and one of the few in the world to feature a mountain on its coat-of-arms. Formerly, it was featured on the coat of arms of the Socialist Republic of SloveniaThe first to depict Triglav as the symbol of the Slovenes was the architect Joћe Plečnik, who in 1934 put it besides other coats-of-arms of the nations of the Kingdom of Yugoslavia on the coat of the statue of the Mother of God in front of the parish church in Bled.
During World War II, the stylised Triglav was the symbol of the Liberation Front of the Slovene Nation resistance movement. The distinctive three-pronged caps worn by Slovene Partisans during World War II were known as triglavkasA relief map of the mountain is the design on the national side of the Slovene 50 eurocent coin.
An old map from 1567, referes to Triglav as Ocra mons, whereas Johann Weikhard von Valvasor named it Krma in the second half of the 17th century. According to the German mountaineer and professor Adolf Gstirner, the name Triglav first appeared in written sources as Terglau in 1452, but the original source has been lost. The next known occurrence of Terglau is cited by Gstirner and is from a court description of the border in 1573.  The name is derived from the compound *Tri-golvъ (literally 'three-head' or , 'three peaks'), which may be understood literally because the mountain has three peaks when viewed from much of Upper Carniola. It is unlikely that the name has any connection to the Slavic deity Triglav. 

The painter 
Marcus (or Markus) Pernhart was a Carinthian  / Slovenian / Austrian painter. He is considered the first Slovene realistic landscape painter. He painted several times Triglav.
At  barely 12 years, he painted the guest rooms of Krajcar Restaurant between Klagenfurt and Völkermarkt. The innkeeper made, the bishop's chaplain Henr. Hermann discovered the talented boys. At 15, he trained in painting first with Andreas Hauser in Klagenfurt. Hermann supported him further and introduced him to his patron, the Gorizia Archbishop Francis Xavier Luzhin.  Through this he got contact with the Viennese art scene, particularly to Franz Steinfeld, who taught at the Academy of Fine Arts. It was forwarded to the Munich Academy, but soon returned to Carinthia. There he was promoted by his stage name Pernhart the famous landscape painter of his time.
When Pernharts drawing style had fully developed, he was asked by Max from Moro to draw all Castles Carinthia. The idea was to these buildings if they could often for financial reasons can not be obtained, at least to preserve the picture, thereby preserving from decay. Markus Pernhart does not disappoint its customers and held in pencil drawings smallest details of the well-preserved, but also the already partly decayed plants firmly. Already in 1853, he produced 40 drawings followed by 198 others, he property of the Historical Association for Carinthia. In 1855  he gave the Carinthian estates Empress Elisabeth, an album of 21 drawings to which Max Moro contributed. Entitled images from Carinthia  appeared  in 1863-1868 in deliveries as steel engravings with accompanying. After his death appeared 5 lithographic panoramic images (Klagenfurt in 1875 and 1889).
His entire painted oeuvre consists of approximately 1,200  paintings, drawings and enrgavings that delight even after his death a large appreciation.
Pernhart presented landscapes, preferably lakes and high mountain motifs or castles, but also animals and still life subjects, in an idyllic and pathetic style. His works can be seen against the background of an incipient leisure society, they lead before the regional status objects of his home.

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. "