MOUNT KAZBEK PAINTED BY IVAN AIVAZOVZKY

IVAN AIVAZOVSKY (1817-1900)

Mount Kazbek (5,047m- 16, 558ft)

Georgia - Russia

 From the roads to Gudauri in 1868, oil on canvas, Private collection 

The mountain 

Mount Kazbek (5,047m - 16, 558ft) or Mkinvartsveri (in Georgian) or Bashlam (in Vainkah)  is a dormant stratovolcano and one of the major mountains of the Caucasus located in the Kazbegi District of Georgia,just south of the border with Russia.  It is the third highest peak in Georgia (after Mount Shkhara and Janga) and the seventh highest summit in the Caucasus Mountains.  Kazbek is also the second highest volcanic summit in the Caucasus, after Mount Elbrus. The summit lies directly to the west of the town of Stepantsminda and is the most prominent geographic feature of the area. Mount Kazbek is the highest peak of Eastern Georgia. 

Kazbek is located on the Khokh Range, a mountain range which runs north of the Greater Caucasus Range, and which is pierced by the gorges of the Ardon and the Terek. At its eastern foot runs the Georgian Military Road through the pass of Darial 2,378 meters (7805 feet). The mountain itself lies along the edge of the Borjomi-Kazbegi Fault (which is a northern sub-ending of the Anatolian Fault). The region is highly active tectonically, with numerous small earthquakes occurring at regular intervals. An active geothermal/hot spring system also surrounds the mountain. Kazbek is a potentially active volcano, built up of trachyte and sheathed with lava, and has the shape of a double cone, whose base lies at an altitude of 1,770 m (5,800 feet). Kazbek is the highest of the volcanic cones of the Kazbegi volcanic group which also includes Mount Khabarjina (3,142 m).

Owing to the steepness of its slopes, the glaciers of Kazbek are not very large. The total combined area of all of Kazbek's glaciers is 135 kmІ. The best-known glacier is the Dyevdorak (Devdaraki), which creeps down the north-eastern slope into a gorge of the same name, reaching a level of 2,295 meters (7,530 feet). Kazbek's other glaciers include the Mna, Denkara, Gergeti, Abano, and Chata. The recent collapse of the Kolka Glacier, located in a valley between Mt. Jimara and Kazbek in the year 2002 was attributed to solfatara volcanic activity along the northern slope of the mountain, although there was no eruption. In addition to the 2002 event, a massive collapse of the Devdaraki Glacier on the mountain's northeastern slope which occurred on August 20, 2014, led to the death of seven people. The glacier collapse dammed the Terek River in the Daryal Gorge and flooded the Georgian Military Highway.

Gudauri nowadays is a ski resort located on the south-facing plateau of The Greater Caucasus Mountain Range in Georgia. The resort is situated in the Stepantsminda District, along the Georgian Military Highway near the Cross Pass, at an elevation of 2,200 meters (7,200 ft.) with skiable area enjoying maximum exposure to the sun. Gudauri lies120 km (75 mi) to the north of the capital Tbilisi.  The slopes of Gudauri are completely above the tree line and are best for free-riders and are generally considered to be avalanche-safe. The ski season lasts from December to April. 

The painter 

Ivan Konstantinovich Aivazovsky (Ива́н Константи́нович Айвазо́вский)  was a Russian Romantic painter. Despite he is considered one of the greatest marine artists in history, he painted a few mountains landscapes.  Aivazovsky was born into an Armenian family in the Black Sea port of Feodosia and was mostly based in his native Crimea.  Following his education at the Imperial Academy of Arts, Aivazovsky traveled to Europe and lived briefly in Italy in the early 1840s. He then returned to Russia and was appointed the main painter of the Russian Navy. Aivazovsky had close ties with the military and political elite of the Russian Empire and often attended military maneuvers. He was sponsored by the state and was well-regarded during his lifetime. The saying "worthy of Aivazovsky's brush", popularized by Anton Chekhov, was used in Russia for "describing something ineffably lovely." One of the most prominent Russian artists of his time, Aivazovsky was also popular outside Russia. He held numerous solo exhibitions in Europe and the United States. During his almost 60-year career, he created around 6,000 paintings, making him one of the most prolific artists of his time. The vast majority of his works are seascapes, but he often depicted battle scenes, Armenian themes, and portraiture. Most of Aivazovsky's works are kept in Russian, Ukrainian and Armenian museums as well as private collections.

A primarily Romantic painter, Aivazovsky used some Realistic elements.  Leek argued that Aivazovsky remained faithful to Romanticism] throughout his life, "even though he oriented his work toward the Realist genre."  His early works are influenced by his Academy of Arts teachers Maxim Vorobiev and Sylvester Shchedrin. Classic painters like Salvator Rosa, Jacob Isaacksz van Ruisdael and Claude Lorrain contributed to Aivazovsky's individual process and style. Karl Bryullov, best known for his The Last Day of Pompeii, "played an important part in stimulating Aivazovsky's own creative development," according to Bolton. Aivazovsky's best paintings in the 1840s–1850s used a variety of colors and were both epic and romantic in theme. Newmarch suggested that by the mid-19th century the romantic features in Aivazovsky’'s work became "increasingly pronounced." She, like most scholars, considered his Ninth Wave his best piece of art and argued that it "seems to mark the transition between fantastic color of his earlier works, and the more truthful vision of the later years." By the 1870s, his paintings were dominated by delicate colors; and in the last two decades of his life, Aivazovsky created a series of silver-toned seascapes.

The distinct transition in Russian art from Romanticism to Realism in the mid-nineteenth century left Aivazovsky, who would always retain a Romantic style, open to criticism. Proposed reasons for his unwillingness or inability to change began with his location; Feodosia was a remote town in the huge Russian empire, far from Moscow and Saint Petersburg. His mindset and worldview were similarly considered old-fashioned, and did not correspond to the developments in Russian art and culture.^[31] Vladimir Stasov only accepted his early works, while Alexandre Benois wrote in his The History of Russian Painting in the 19th Century that despite he was Vorobiev's student, Aivazovsky stood apart from the general development of the Russian landscape school.

Aivazovsky's later work contained dramatic scenes and was usually done on a larger scale. He depicted "the romantic struggle between man and the elements in the form of the sea (The Rainbow, 1873), and so-called "blue marines" (The Bay of Naples in Early Morning, 1897, Disaster, 1898) and urban landscapes (Moonlit Night on the Bosphorus, 1894)."

JEBEL YEMMA GOURAYA SEEN BY FREDERIC GADMER

FREDERIC GADMER (1878-1954)

Jebel Yemma Gouraya (672m - 2,204ft) in 1929 

Algeria (Kabylia)

Autochrome Lumière - Albert Kahn Museum Paris

The mountain 

Jebel Yemma Gouraya or Gouraya (between 660 m and 672 m - between 2,165ft and 2,204ft ) is a mountain dominating the Gouraya National Park (Arabic: الحديقة الوطنية قورايا) north of Algeria (Kabylie),a long the coast of the Mediterranean sea, in the Wilaya of Bejaïa. It is located 96 km from Jijel, 111 km from Setif, 127 km from Tizi Ouzou and 230km from Algiers, capital of Algeria.

The mountain previously called Amsiwen was renamed Yemma Gouraya probably by the Spanish during the 16th century. Yemma meaning "mother" in Kabyle langage. This mountain is supposed to be the burial place of the sacred patron of the city, Yemma Gouraya, even if no archaeological evidence proves it. According to tradition, Yemma Gouraya was Yemma Mezghitane's sister, saint patron of Jijel, and Yemma Timezrit, patron of Timezrit. Gouraya means "protector of the mountain" (gur = "mountain" and aya = protective).

The summit can be reach by a winding path of gentle slope, where fragments of quartz shine. From there, one dominates the country and the entire bay. The Ile des Pisans (Island of Pisans) at a distance of 24 km, appears nearby, net, facing the Punic port. The mountains plunge directly into the sea, adding to the majesty of the place. At the summit, a fortress was built by the Spanish probably in the 16th century, redesigned by the French in the 19th century on the site of the marabout Yemma Gouraya which was destroyed in 1833. Jebel Yemma Gouraya is part of a protected area, the Gouraya Park.

The Gouraya Park (​​2,000 ha) hosts approximately 1.2 million visitors per year, especially in summer. Its sandy beaches, cliffs and crystal clear waters participate to keep it attractive. The flora and fauna are varied there, among which Berber macaques and golden jackal which live in the forests of the park. The park has been classified Biosphere Reserve by UNESCO in 2004. This park was created for its diversity in endemic vegetation, marine and continental environments as well as regional history.

At the park, is added a marine area of ​​7,842 ha and a lake area "Lake Mézaia" (3 ha). It presents 15 archaeological treasures including historical sites.

Biodiversity in Gouraya National Park consists of 1709 species of flora and fauna among which 533 for flora species and 1156 for fauna species. 67 species are protected including 20 invertebrates, 1 reptile, 10 mammals, 3 plants and 33 birds.

The artist

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

About the "Autochrome Lumière" Photos

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

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2019 - Wandering Vertexes...

by Francis Rousseau 

DUNGEON PEAK PAINTED BY ROBERT GENN

ROBERT GENN (1936-2014) 

Dungeon Peak (3, 219 m - 10, 266 ft)  

Canada

The mountain 

Dungeon Peak (3, 219 m - 10, 266 ft) is located on the border of Alberta and British Columbia. Named in 1916, Dungeon peak is one of the 10 named peaks by the Alpine Club of Canada part of The Ramparts, such as Bastion, Parapet etc.. They form a western boundary for the Tonquin Valley. Amethyst Lake lies to the east, while the headwaters of the Fraser River bound it to the west.

The Ramparts are a mountain range in the Canadian Rockies; part of the Park Ranges, they straddle the Continental Divide and lie partly within Jasper National Park in Alberta and Mount Robson Provincial Park in British Columbia.

The first ascent of Dungeon peak was made  in 1933 by  Rex Gibson, R.C. Hind, E.L. Woolf

The most famous cliimbing route is East Face IV 5.7, another of the prominent east-facing rib routes. Not quite as aesthetic as the E Face of Oubliette (2 days climbing route) but still a very worthwhile outing. Mostly a rock route but take ice gear for both the ascent and descent. 

The painter 

Robert Douglas Genn  was a Canadian artist, who has gained recognition for his style, which is in the tradition of Canadian landscape painting.  His work is in corporate and public collections, including Air Canada, Bank Of Montreal, Canadian General Insurance, Canadian Airlines, Canadian Utilities, The Churchill Corporation, Expo '86, Esso Resources, First City - California II, Highfield Oil & Gas, Molson Brewery Ltd., Montreal Trust, Shell Resources, University of Alberta, Westgate Chevrolet, Glenbow Museum and Government of Belgium.

Born in Victoria, British Columbia, Genn has often been compared with  members of  the 1920s Canadian Group of Seven.  In 1961, he met Lawren Harris who was a neighbour in Point Grey, Vancouver. Genn had problems with painting skies, and Harris's advice was to turn the picture upside-down: "Paint down from the trees to the clouds at the bottom of the picture to get the perspective right." Genn said this was "valuable advice", which enabled him "to control the gradation, and work up into the trees in a more abstract manner."

He ran the Painter's Keys web site, a worldwide artists' community, with his staff and volunteers. The web site sends out an erudite free twice-weekly newsletter, which is sent to 135,000 artists in over 100 countries, and claims the largest collection of art quotes online with over 5,382 authors quoted. 

In 2005, Genn campaigned against the Chinese website, arch-world.com, which was selling thousands of high-resolution images of around 2,800 artists' work illegally, without permission. After failing to gain support from the Canadian government or the African embassy in Ottawa, Genn used his web site to enlist subscribers' support to email objections to the arch-world, resulting within days in over 1,000 online complaints from artists, dealers and politicians to the company and governments. This stimulated a diplomatic protest letter to the Chinese Ministry of Commerce, Trading and Law Department from the Canadian Embassy in Beijing. Genn credited the campaign with the subsequent removal of images by 800 Canadian artists from arch-world, although many works were reinstated on arch-world soon after.

Genn has been a member of the Board of Directors at Emily Carr College of Art & Design.

Genn announced in his Twice-Weekly Letter of 25 October 2013 that he had been diagnosed with pancreatic cancer.  He died at his Surrey, British Columbia home on 27 May 2014.

___________________________________________
2016 - Wandering Vertexes...
by Francis Rousseau 

EQUINOX MOUNTAIN PAINTED BY ROCKWELL KENT

ROCKWELL KENT (1882-1971) 

Equinox Mountain (1,170 m- 3,840 ft) in 1919-25 

Vermont - USA

The mountain
Equinox Mountain (1,170 m- 3,840 ft) is located in Bennington County, Vermont, United States, in the town of Manchester. The mountain is the highest peak of the Taconic Range, and the highest point of Bennington County. It is one of thirteen peaks in Vermont with a topographic prominence over 2,000 feet (610 m), ranked third behind Mansfield and Killington. Equinox is the second highest peak in southern Vermont, after Stratton Mountain.

A small, abandoned Cold War-era NORAD radar station can be seen near the summit. The site is now used for two-way communications including the Vermont State Police, and  radio stations.

An abandoned, now collapsed tunnel boring dating to the mid-1960s would have provided access to a subterranean cryonics receptacle for humans placed in low-temperature suspension. The tunnel project site is located on the northwest slope of the peak near the 2,800-foot (850 m) level. A private Vermont-based firm, Renew, Inc., had planned to preserve the bodies of several prominent high-IQ individuals for future reawakening. The project was hastily abandoned due to fraud allegations.

The Charterhouse of the Transfiguration monastery is situated on the slopes of the mountain. Equinox Mountain can be climbed by several different hiking trails.

Adjacent to the larger Equinox Mountains is Little Equinox, where two wind farms have previously operated. One wind turbine was installed in 1981 and three more in 1982, making Little Equinox Mountain the site of one of the first wind farms in the United States. These turbines, an early-generation design by WTG Systems of Buffalo, New York, were mounted on 80-foot (24 m) truss towers and had a nominal peak output of 350 kW. The turbines, however, were plagued with mechanical issues, and by the mid-1980s all four were out of service, standing idle on the mountain from 1985 through 1989.

Green Mountain Power began operating the site in 1988, erecting a wind measurement tower and removing the four old turbines. It installed two U.S. Windpower 100 kW turbines in 1990, which ran for four years making electricity. Green Mountain Power removed its turbines and measurement tower in 1994. The company now owns the Searsburg Wind Farm in Searsburg, Vermont.

Endless Energy Corporation, a wind farm development company based in Maine, has expressed interest in the site for a modern wind farm. They have conducted wind measurements as well as environmental studies of Little Equinox Mountain. To build a wind farm in Vermont, the developer needs to go through the Public Service Board's Section 248 application process.

The Taconic Range ridgeline continues to the north from Equinox Mountain as Mother Myrick Mountain and south as Red Mountain; it is flanked to the west by Bennetts Ridge and Bear Mountain, also of the Taconic Range, and to the east by the western escarpment and plateau of the Green Mountains, across the Batten Kill valley. The southeast side of Equinox Mountain drains into the Batten Kill, thence into the Hudson River, and into New York Harbor. The northwest side of Equinox drains into the Green River, a tributary of the Batten Kill.

Reference

- Peakbagger.com

- Equinox Mountain in Wikipedia 

The painter

Rockwell Kent, artist, author, and political activist, had a long  and varied career. During his lifetime, he worked as an architectural draftsman, illustrator, printmaker, painter, lobsterman, ship's carpenter, and dairy farmer. Born in Tarrytown Heights, New York, he lived in Maine, Newfoundland, Alaska, Greenland, and the Adirondacks and explored the waters around Tierra del Fuego in a small boat. Kent's paintings, lithographs, and woodcuts often portrayed the bleak and rugged aspects of nature; a reflection of his life in harsh climates.

Kent had an unusually long and thorough training as an artist. He was a student at the Horace Mann School in New York City and subsequently studied architecture at Columbia University, toward the end of which he felt a strong inclination toward painting and took up the study of art under William Merritt Chase at the Shinnecock Hills School. He studied later at the New York School, under Robert Henri and Kenneth Hayes Miller, and finally as an apprentice to Abbott Thayer at Dublin, New Hampshire. Henri encouraged him to go to Monhegan Island where Kent painted on his own. He was absorbed in the awesome power of the environment; nature's timeless energy and contrasting forces influenced his work throughout his lifetime. His early and lasting relationship with the sea was portrayed again and again in his work.

The graphic art tradition in which Rockwell Kent worked was not that of the Post-Impressionist or abstract International style, but rather an older and somewhat English style. Hogarth, Blake, Constable, the Pre-Raphaelites, and the British illustrators were his artistic antecedents. His work is most frequently identified with that of the American Social Realists and the great muralists of the 1920s and 1930s. 

His experience as a carpenter and builder and his familiarity with tools served him well when he took up the graphic process. His blocks were marvels of beautiful cutting, every line deliberate and under perfect control. The tones and lines in his lithography were solidly built up, subtle, and full of color. He usually made preliminary studies- old-mater style- for composition or detail before starting on a print. Nothing was vague or accidental about his work; his expression was clear and deliberate. Neither misty tonalities nor suggestiveness were to his taste. He was a highly objectified art - clean, athletic, sometimes almost austere and cold. He either recorded adventures concretely, or dealt in ideas. His studio was a model of the efficient workshop: neat, orderly, with everything in its place. His handwriting, the fruit of his architectural training, was beautiful and precise. 

When Kent died of a heart attack in 1971, The New York Times described him as "... a thoughtful, troublesome, profoundly independent, odd and kind man who made an imperishable contribution to the art of bookmaking in the United States."  Richer, more accurate accounts of the scope of the artist's influential career as a painter and writer have since superseded this cursory summing-up of an American life. Retrospectives of the artist's paintings and drawings have been mounted, most recently by The Rooms in St. John's, Newfoundland, where the exhibition Pointed North: Rockwell Kent in Newfoundland and Labrador was curated by Caroline Stone in the summer of 2014. Other recent exhibitions include the Richard F. Brush Art Gallery and Owen D. Young Library at St. Lawrence University (Canton, New York) in the autumn of 2012; the Farnsworth Art Museum (Rockland, Maine) during the spring through autumn of 2012; the Bennington Museum in Vermont during the summer of 2012; and the Philadelphia Museum of Art in the spring through summer of 2012. An exhibition marking the centennial of Kent's time in Winona, Minnesota, took place there in 2013. Among the many notes of increasing awareness of Kent's contributions to American culture is the reproduction of one of Kent's pen-and-ink drawings from Moby Dick on a U.S. postage stamp, part of the 2001 commemorative panel celebrating such American illustrators as Maxfield Parrish, Frederic Remington, and Norman Rockwell.

Noted American and Canadian writers in recent years have found much gold to mine in Kent's improbable personal and public life. The year he spent in Newfoundland, for example, is fictionally (and very loosely) recalled by Canadian writer Michael Winter in The Big Why, his 2004 Winterset Award-winning novel. And certain qualities of the protagonist of Russell Banks's 2008 novel The Reserve are inspired by aspects of Kent's complex personality. Kent's work also figures in Steve Martin's 2010 novel An Object of Beauty and is the subject of a chapter in Douglas Brinkley's 2011 history The Quiet World: Saving Alaska's Wilderness Kingdom: 1879–1960.

The Archives of American Art is the repository for Kent's voluminous correspondence.

Source: 

- Short Biography byPlattsburgh State Art Museum 

THE SCHAFREUTER PAINTED BY ALBERT FURTWÄNGLER

ALBERT FURTWÄNGLER (1902-1984) 

The Schafreuter (2, 102m- 6,896 ft) 

Germany - Austria border

The Mountain
The Schafreuter (2, 102m- 6,896 ft) also called Schafreuter or Scharfreiterring,  which means Sheep Shepherd is located in the Karwendel Mountains Range, on the border between Bavaria and Tyrol passes (according to a 1844 benchmark).  It is one of the 125 peaks in the Karwendel range  that reach heights of over 2,000 m, the highest being the Birkkarspitze  (2,749 m- 9,019 ft).
The  Schafreuter summit offers an excellent view of the Hinterautal-Vomper, chain and Karwendel North Soierngruppe in Karwendel and the most famous mountains of the Alps (Benediktenwand, Ross and Buchstein). The summit can be reach either from 1580 m by a grassy ridge, either from the Tölzer hut to 1835 m.
The Karwendel is the largest mountain range of the Northern Limestone Alps. The major part belongs to the Austrian federal state of Tyrol, while the adjacent area in the north is part of Bavaria, Germany. Four chains stretch from west to east; in addition, there are a number of fringe ranges and an extensive promontory  in the north. The term Karwendel describes the part of the Alps between the Isar river and the Seefeld Saddle mountain pass in the west and Achen Lake in the east. In the north it stretches to the Bavarian Prealps. In the south the Lower Inn Valley with the city of Innsbruck separates the Karwendel from the Central Eastern Alps. Other major settlements include Seefeld in Tirol and Mittenwald in the west, as well as Eben am Achensee in the east.

Neighbouring ranges are the Wetterstein and Mieming Mountains in the west and the Brandenberg Alps in the east.

The mountaineer Hermann von Barth created the tradition of naming the Karwendel chains ranges after the valleys limiting them in the south: Karwendel valley, Hinterau valley and Vomper Loch, Gleirsch valley, Hall valley, and Inn valley:

- Northern Karwendel Chain 

- Hinterautal-Vomper Chain (a.k.a. main Karwendel Range)

- Gleirsch-Halltal Chain

- Nordkette (a.k.a. Solstein Range or Inn Valley Range).

Réference : 

- Schafreuter in Karwendel website 

The painter 

Albert Furtwängler (1902-1984) is an german artist born in 1902.  He painted  mountain lansdcapes of the Tyrol aera and Black Forest.  His paintings are not very present in public auctions around the world. The oldest artwork ever registered by Artprice for this artist is a painting sold in 1995, at Auktionshaus Kaupp GmbH, and the most recent artwork is a painting sold in 2016. 

MOUNT EARNSLAW PAINTED BY EUGENE VON GUERARD

 EUGENE VON GUERARD (1811-1901)

  Mount Earnslaw or Pikirakatahi  (2,819m -9,249 ft)

New Zealand

 In Mount Earnslaw with Lake Wakatipu, Middle Island, in 1877–79, oil on canvas 

New Zealand Mackelvie Trust Collection, Auckland Art Gallery

The Mountain 

Mount Earnslaw, (2,819m -9,249 ft) also named Pikirakatahi by Māori is located on New Zealand's South Island. It is named after Earnslaw (formerly Herneslawe) village in the parish of Eccles, Berwickshire, hometown of the surveyor John Turnbull Thomson's father.

Mount Earnslaw is within Mount Aspiring National Park at the southern end of the Forbes Range of New Zealand's Southern Alps. It is located 25 kilometres north of the settlement of Glenorchy, which lies at the northern end of Lake Wakatipu.

Climbing

Reverend W.S. Green had come to New Zealand to try to climb Mount Cook. In March 1882, with guides Emil Boss and Ulrich Kaufmann, he attempted Earnslaw, but transport and weather problems forced them to turn back after climbing 1, 500m (5,000 ft).  After several attempts over a period of years, Glenorchy guide Harry Birley climbed the eastern peak of Earnslaw in 1890. He left a bent shilling in an Irish Moss bottle within a stone cairn, to prove he had reached the top.

The 10 m lower, but much more challenging West Peak, 2.5 km to the west-south-west and separated by a 200 m deep pass, was climbed in 1914 by H.F. Wright and J. Robertson.

Mt Earnslaw (Pikirakatahi) has variety of routes available for a moderate to technical challenge and provide and excellent platform to begin your alpine practice.  The peak(s) west and east, dominate over the northern arm of Lake Wakatipu and the small hamlet of Glenorchy (315 m) is the last frontier before the lush river valley leads the way to the eastern slopes and the access to climb Mt. Earnslaw.  Although the easiest route is not technically demanding, Mt. Earnslaw will physically challenge any mountaineer with a variety of routes on Earnslaw await the climber who wants a technical challenge.   An excellent campsite is located on the old moraine bench at the foot of the ascent track beyond the Rees crossing point 

There are two huts available on the ascent:

1) Earnslaw Hut (at about 1000m - still below the tree line) It is owned by the DOC. Some describe its condition as "derelict" but you should prefer to like it for its historic feel and rustic construction! This is where Frank Wright commenced his FA of West Peak back in 1914. 

2). Esquilant Bivvy at Wright Col (Just beyond it actually) at 2150m owned by N.Z ALPINE CLUB - for more details click here.

The best season to climb is from December to the end of February.  The nearest city is Queenstown.

The Painter 

Johann Joseph Eugene von Guerard was an Austrian-born artist, active in Australia from 1852 to 1882. Known for his finely detailed landscapes in the tradition of the Düsseldorf school of painting, he is represented in Australia's major public galleries, and is referred to in the country as Eugene von Guerard. In 1852 von Guerard arrived in Victoria, Australia, determined to try his luck on the Victorian goldfields. As a gold-digger he was not very successful, but he did produce a large number of intimate studies of goldfields life, quite different from the deliberately awe-inspiring landscapes for which he was later to become famous. Realizing that there were opportunities for an artist in Australia, he abandoned the diggings and was soon undertaking commissions recording the dwellings and properties of wealthy pastoralists.

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

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

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

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

GAUSTATOPPEN PAINTED BY PEDER BALKE

Painted in 1858 by Peder Balke 

PEDER BALKE (1804-1887)

 Gaustatoppen (1,883 m - 6,178 ft)

 Norway

1.   In Gaustatoppen, 1877, watercolor, National gallery of Norway  

2.  In Gaustatoppen, 1858, oil on canvas, Private collection 

The mountain 

Gaustatoppen (1,883 m -6,178 ft) is the highest mountain in the county Telemark in Norway. The view from the summit is impressive, as one can see an area of approximately 60,000 kmІ, one sixth of Norway's mainland.  Inside the mountain there is a railway (with an electric locomotive) that cost one million US dollars to build from 1954 to 1959. and a elevator. It was built to access the military radio station built on the top.  Nowadays, mlilitary installations are not used anymore, but they are still there as a tourist attraction. The mountain is popular for downhill skiing in winter, and competitions have been held on its slopes. These competitions include the "Norseman triathlon", billed as "the world's most brutal iron-distance triathlon". It starts in Eidfjord and finishes at the top of Gaustatoppen. The summit is accessible on foot in the summer, on a rocky pathway of medium difficulty, although the southern side of the mountain is very dangerous and inaccessible.  

Fist ascent was made in 1810 by Jens Esmark.

The wreckage of an airplane crash lies there, as it is too difficult to remove it.

The painter 
Peder Balke is a Norwegian painter that was even barely known in his home country, until recently. He didn’t encounter success during his lifetime. Having difficulties to sell his paintings, he abandoned his career to focus on social projects and politics but he continued to paint for his own pleasure. Once delivered from the pressure of making a living from his paintings, his style changed to become more personal, more modern.
During the summer 1832, Peder Balke, who was in love with the Norwegian landscapes, decided to go and seek for its most remote, its most desolate and its most distant points by sailing up the west coast of Norway as far as he could go. He went up to the inhospitable and barely accessible far-northern region of Finnmark. He reached the North Cape, the northernmost part of Norway, which was even more impressive at that time because it was the further north you could go, the final limit to knowledge and exploration – beyond it lies nothing (explorers only reached the North Pole in the late 1900s, two decades after his death).

Peder Balke wrote in his memoirs: “I can’t begin to describe how elated I was at having seen and re-tread the land, once again, after satisfying my deep longing to see the northern provinces. No easier is it for me to pen my thoughts on which sublime and mesmerizing impressions the wealth of natural beauty and unrivaled settings leave upon the mind of an observer. These impressions not only overwhelmed me for a brief moment, but they, too, influenced my entire future since I never yet, neither abroad nor other places in our country, have had the occasion to gaze at something so awe-inspiring and exciting as that which I observed during this journey to Finnmark. Unsurpassed in the norther provinces is the beauty of nature, while humans – nature’s children – play but a minor role, in comparison”.

 The 1832 journey had a momentous effect upon his development as an artist; the eerie, isolated, dramatic and gloomy Arctic landscapes became a leitmotiv as he continued to paint them from his memory for the rest of his life. 

Peder Blake’s early paintings are quintessentially romantic, the product of a man awed by nature, overwhelmed by the often-horrifying beauty of his own land.

Long forgotten, Peder Balke is today increasingly recognized as an important precursor of modern painters.

____________________________________________
2016 - Wandering Vertexes...
by Francis Rousseau 

MOUNT OROHENA PAINTED BY PAUL GAUGUIN

PAUL GAUGUIN  (1848-1903)

Mount Orohena  (2,241m -7,352 ft)

French Polynesia (Tahiti)

In Les Montagnes Tahitiennes, 1893, oil on canvas 

The mountain 

Mont Orohena  (2,241m- 7,352 ft) is a extinct volcano located in the South Pacific, on the island of Tahiti (French Polynesia).  It is the highest point of the french Polynesia and listed as an  "Ultra proeminent peak".  The first ascent of Orehana was made September 28, 1953 by Alphonse and Charles Hollande, Tiaore and Varuamana. Although his height is in the moderately difficult ascents, climb the Orohena remains a real challenge. The difficulties are related both to the climate, the terrain, the significant and rapid vertical drop, the Shape of the summit, to the heavy load that should carry on his back during the ascent. First thing to know in Tahiti: the trails are not maintained, and the dangers are many.  It is imperative to check the weather before you start to climb, the weather changes very quickly on Orohena and rainstorms can be a nightmare !!! Second thing to know: it takes the cold night on the Orohena.

The painter 
Eugène Henri Paul Gauguin (was a French post-Impressionist artist. Under appreciated until after his death, Gauguin is now recognized for his experimental use of color and synthetist style that were distinctly different from Impressionism. His work was influential to the French avant-garde and many modern artists, such as Pablo Picasso and Henri Matisse. Gauguin's art became popular after his death, partially from the efforts of art dealer Ambroise Vollard, who organized exhibitions of his work late in his career, as well as assisting in organizing two important posthumous exhibitions in Paris. Many of his paintings were in the possession of Russian collector Sergei Shchukin as well as other important collections.
After a first voyage in 1850,  Gauguin set out for Tahiti again on 28 June 1895. His return is characterised by Thomson as an essentially negative one, his disillusionment with the Paris art scene compounded by two attacks on him in the same issue of Mercure de France; one by Emile Bernard, the other by Camille Mauclair. 

He arrived in September 1895 and was to spend the next six years living, for the most part, an apparently comfortable life as an artist-colon near, or at times in, Papeete. During this time he was able to support himself with an increasingly steady stream of sales and the support of friends and well-wishers, though there was a period of time 1898–1899 when he felt compelled to take a desk job in Papeete, of which there is not much record. 

His health took a decided turn for the worse and he was hospitalised several times for a variety of ailments. While he was in France, he had his ankle shattered in a drunken brawl on a seaside visit to Concarneau. The injury, an open fracture, never healed properly. Now painful and debilitating sores that restricted his movement were erupting up and down his legs. These were treated with arsenic. Gauguin blamed the tropical climate and described the sores as "eczema", but his biographers agree this must have been the progress of syphilis.

THE RITZLIHORN PAINTED BY ALEXANDRE CALAME

ALEXANDRE CALAME (1810-1864) 

Ritzlihorn (3,282m - 10,768 ft) 

Switzerland  

In Le Ritzlihorn et la vallée d’ 'Urbach, oil on canvas

The mountain
The Ritzlihorn  (3,282m - 10,768 ft) is located in the district Interlaken-Oberhasli and the Canton of Bern, in the central part of Switzerland, 70 km southeast of the capital Bern. The Ritzlihorn is part of the Bernese Alps, overlooking Handegg in the canton of Bern.  It lies on the range east of the Gauli Glacier and north of the Bдchlistock. The width at the base of 3.2 kilometers.
The terrain around the Ritzlihorn is mainly mountainous. Around Ritzlihorn it is very sparsely populated, with 2 inhabitants per square kilometer.  The neighborhood consists essentially of grasslands. Tundra climate prevails in the region.  The average annual temperature in the area is -1 ° C. The warmest month is August, when the average temperature is 10 ° C, and the coldest is January, with 12 ° C. Average annual rainfall is 2465 millimeters. The rainiest month is November, with an average of 347 mm of precipitation, and the driest is March, with 113 mm of rainfall.

The Painter 

Alexandre Calame )was a Swiss painter.  He was the son of a skillful marble worker in Vevey. His father lost the family fortune, and Alexandre Calame was forced to work in a bank at the age of 15. When his father fell from a building and then died, the young Calame  provided for his mother.

In his spare time he began to practice drawing small views of Switzerland. In 1829 he met his patron, the banker Diodati, who made it possible for him to study under landscape painter François Diday. After a few months he decided to devote himself fully to art.

In 1835, he began exhibiting his Swiss-Alps and forest paintings in Paris and Berlin. He became quite well known, especially in Germany, although Calame was more a drawer than an illustrator. He is associated with the Dusseldorf school of painting. In 1842 he went to Paris and displayed his works Mont Blanc, the Jungfrau, the Brienzersee, the Monte Rosa and Mont Cervin. He taught in Geneva, where Adolf Mosengel was one of his pupils.

He went to Italy in 1844 and brought back from Rome and Naples countless paintings, among them one of the ruins of Paestum (in the city museum in Leipzig). He showed that he was capable of understanding Italian nature; but the Alps remained his speciality.

The glaciers, emerald-green, white foaming mountain water, which split the trees during the storm, and the whipped clouds, the multi-colored rocks, half masked from fog, in the rays of the gleaming sun, are those things, which he knew to be true to nature. 

One of his most ingenious works is the representation of the four seasons and times of the day in four landscapes, a spring morning in the south, a summer midday in the Nordic flatlands, an Autumn evening, and a winter night on a mountain. He became popular with these large works, and his popularity grew with smaller pieces and lithographies, namely 18 studies of Lauterbrunnen and Meiringen and the 24 sheets of Alpine passes. These were widespread in France, England, and Germany and are still today used to teach this style of painting.

He died in Menton, France in 1864.

An exhibition featuring more than thirty of Calame's paintings was held at the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts in 2006.

Reference 

- Alexandre Calama in  Historical Dictionnary of Switzerland

EL CHIMBORAZO PAINTED BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826-1900) 
Chimborazo  (6,263.47m - 20,549.4 ft)
Ecuador

1. In Study for Mount Chimborazo, 1857, watercolor, Cooper Hewitt Museum
2.  Mount Chimborazo, oil on canvas, Private Collection

The mountain

Chimborazo  (6,263 m -20,548 ft) is a currently inactive stratovolcano in the Cordillera Occidental range of the Andes ans the highest mountain in Ecuador and the Andes north of Peru ; it is higher than any more northerly summit in the Americas. Chimborazo is not the highest mountain by elevation above sea level, but its location along the equatorial bulge makes its summit the farthest point on the Earth's surface from the Earth's center.

Chimborazo is at the main end of the Ecuadorian Volcanic Arc, north west of the town of Riobamba. Chimborazo is in la Avenida de los Volcanes (the Avenue of Volcanoes) west of the Sanancajas mountain chain. Carihuairazo, Tungurahua, Tulabug, and El Altar are all mountains that neighbor Chimborazo.  The closest mountain peak, Carihuairazo, is 5.8 mi (9.3 km) from Chimborazo. There are many microclimates near Chimborazo, varying from desert in the Arenal to the humid mountains in the Abraspungo valley.

Its last known eruption is believed to have occurred around A.D. 550. 

Until the beginning of the 19th century, it was thought that Chimborazo was the highest mountain on Earth (measured from sea level), and such reputation led to many attempts on its summit during the 17th and 18th centuries.

In 1746, the volcano was explored by French academicians from the  French Geodesic Mission. Their mission was to determine the sphericity of the Earth. Their work along with another team in Lapland established that the Earth was an oblate spheroid rather than a true sphere. They did not reach the summit of Chimborazo.

In 1802, during his expedition to South America, Baron Alexander von Humboldt, accompanied by Aimé Bonpland and the Ecuadorian Carlos Montufar, tried to reach the summit. From his description of the mountain, it seems that before he and his companions had to return suffering from altitude sickness they reached a point at 5,875 m, higher than previously attained by any European in recorded history. (Incans had reached much higher altitudes previously; see Llullaillaco). In 1831, Jean-Baptiste Boussingault and Colonel Hall reached a new "highest point", estimated to be 6,006 m.

On 4 January 1880, the English climber Edward Whymper reached the summit of Chimborazo. The route that Whymper took up Chimborazo is now known as the Whymper route. Edward Whymper, and his Italian guides Louis Carrel and Jean-Antoine Carrel, were the first Europeans to summit a mountain higher than 20,000 feet. As there were many critics who doubted that Whymper had reached the summit, later in the same year he climbed to the summit again, choosing a different route (Pogyos) with the Ecuadorians David Beltrбn and Francisco Campaсa.

The painter
Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes.
Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes.  Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases.  Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.
Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.
This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes,” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.

PIC SANS NOM PAINTED BY EMILE APPAY

EMILE APPAY (1876-1935)

 Pic Sans Nom (3,913 m -12,838 ft)

France

In Pic Sans Nom seen from Pic Coolidge, oil on canvas, 

The mountain 

The Pic Sans Nom ( (3,913 m -12,838 ft))(Nameless Peak) is located in the Massif des Ecrins in the French Alps. It lies in the middle of the steep mountain mass that runs south-west from Mont Pelvoux to the Ailefroide. Its steep and extensive northern precipices are bounded by the Glacier Noir; its southern slopes, providing the only relatively easy means of access, are bounded by the Glacier du Coup de Sabre and the Glacier de Sialouze. The Pic du Coup de Sabre (3,699 m) to its south-west is considered part of the Pic Sans Nom.

The north face of Pic Sans Nom is above Glacier Noir and is separated from Pelvoux and Ailefroides by ice couloirs (Pelvoux pass and Glacier Noir pass). 

There is an other couloir (NW couloir ) on north face which comes very close to the summit.

There is no easy route to climb Pic Sans nom and most of them are very difficult. Pic Sans Nom is a domain for rock climbers in high mountain.

The normal route is on SE side on snow and bad rocks.

SE route has a PD cotation.

1877 - First clim by JB Colgrove and Richard Pendlebury and Josef Gabriel Spectenhauser, July 10

1936 - North Ridge Raymond Leininger Jean Vernet Vernet Georges and Jean-Antoine Morin

1976 - First solo winter peak Sans Nom, north face (Russenberger way), by Pierre Beghin

The painter 

Émile Appay was a French painter whose landscapes (watercolors and oils) are in the style of vedute.

Émile Charles Appay spent his childhood in Paris' 15th arrondissement. His father was a printer lithographer Charles Appay which explains his taste for art.  He was a student of Henri Harpignies (1819-1916) and Paul Lecomte (1842-1920). He married in 1900 and had two children. He was friends with André Derain and they loved biking together.  He also loved to go fishing and he often painted river or fishing scenes with his friends. It was recalled at the age of 38 years as a soldier during the war 14-18. It will make many drawings zones combat1. Especially in the Aisne where he was posted in 1916 in the region of Faucoucourt or Estrées (Battle of the Somme).

_______________________________
2016 - Wandering Vertexes...
by Francis Rousseau 

MOUNT WELLINGTON - KUNANYI PAINTED BY JOHN GLOVER

JOHN GLOVER (1767-1849) 

 Mount Wellington - Kunanyi or Unghbanyahletta or Poorawetter (1,269m - 4,163ft)

Australia

  In Mount Wellington and Hobart Town from Kangaroo Point, 1834, oil on canvas

National Gallery of Australia

The mountain 
Mount Wellington (1,269m - 4,163ft)  also known as Unghbanyahletta or Poorawetter or   Kunanyi in Aboriginal langage, is located in the southeast coastal region of Tasmania, Australia. The Palawa, the surviving descendants of the original indigenous Tasmanians, tend to prefer the latter name.  In 2013, a Tasmanian dual naming policy was announced and "Kunanyi - Mount Wellington" was named as one of the inaugural dual named geographic features.
The mountain is the summit of the Wellington Range on whose foothills is built much of the city of Hobart.  Mount Wellington is frequently covered by snow, sometimes even in summer, and the lower slopes are thickly forested, but criss-crossed by many walking tracks and a few fire trails. There is also a sealed narrow road to the summit, about 22 kilometres (14 mi) from Hobart central business district. An enclosed lookout near the summit provides spectacular views of the city below and to the east, the Derwent estuary, and also glimpses of the World Heritage Area nearly 100 kilometres (62 mi) west. From Hobart, the most distinctive feature of Mount Wellington is the cliff of dolerite columns known as the Organ Pipes.

The first recorded European in the area Abel Tasman probably did not see the mountain in 1642, as his ship was quite a distance out to sea as he sailed up the South East coast of the island - coming closer in near present-day North and Marion Bays. No other Europeans visited Tasmania until the late eighteenth century, when several visited southern Tasmania (then referred to as Van Diemens Land) including Frenchman Marion du Fresne (1772), Englishmen Tobias Furneaux (1773), James Cook (1777) and William Bligh (1788 and 1792), and Frenchman Bruni d'Entrecasteaux (1792–93).  In 1793 Commodore John Hayes arrived at the Derwent River, naming the mountain Skiddaw, after the mountain in the Lake District.  In 1798 Matthew Flinders and George Bass circumnavigated the island. Whilst they were resting in the area Flinders named the river the Derwent River, Flinders referred to the mountain as ‘Table Mountain’ (the name given to it by Bond and Bligh - young Matthew Flinders was with them in 1791) for its similarity in appearance to Table Mountain in South Africa. Bruni d'Entrecasteaux's men were the first European to sail up the river and chart it. Later Nicholas Baudin led another French expedition in 1802, and whilst sheltering in the Derwent River (which they referred to as ‘River du Nord’ - the name d'Entrecasteaux had given to it) Baudin also referred to the mountain as ‘Montagne du Plateau’ (also named by d'Entrecasteaux). However, the British first settled in the Hobart area in 1804, resulting in Flinders’ name of ‘Table Mountain’ becoming more popular. Table Mountain remained its common name until in 1832 it was decided to rename the mountain in honour of the Duke of Wellington

A small waterfall in New Town Rivulet near the head of the rivulet on the slopes of Mt Arthur, a sub-peak of Mt Wellington.

In February 1836, Charles Darwin visited Hobart Town and climbed Mount Wellington. In his book "The Voyage of the Beagle", Darwin described the mountain thus;

"... In many parts the Eucalypti grew to a great size, and composed a noble forest. In some of the dampest ravines, tree-ferns flourished in an extraordinary manner; I saw one which must have been at least twenty feet high to the base of the fronds, and was in girth exactly six feet. The fronds forming the most elegant parasols, produced a gloomy shade, like that of the first hour of the night. The summit of the mountain is broad and flat, and is composed of huge angular masses of naked greenstone. Its elevation is 3,100 feet [940 m] above the level of the sea. The day was splendidly clear, and we enjoyed a most extensive view; to the north, the country appeared a mass of wooded mountains, of about the same height with that on which we were standing, and with an equally tame outline: to the south the broken land and water, forming many intricate bays, was mapped with clearness before us. ..."

The first weather station was set up on Mount Wellington in 1895 by Clement Lindley Wragge.

Mount Wellington has played host to some notorious characters over time, especially the bushranger 'Rocky' Whelan, who murdered several bushwalkers through the early 19th century. The cave where he lived is known appropriately as 'Rocky Whelan's Cave', and is an easy walk from the Springs.

Reference :

- Mont Wellington  Official website

The painter 

John Glover  was an English-born Australian artist during the early colonial period of Australian art. In Australia he has been dubbed "the father of Australian landscape painting".

In his youth, the Countess of Harrington helped establish his practice as an art instructor, and may have taken lessons from him herself. Removed to London in 1805, became a member of the Old Water Colour Society, and was elected its president in 1807.  In the ensuing years he exhibited a large number of pictures at the exhibitions of this society, and also at the Royal Academy and the Society of British Artists. He had one-man shows in London in 1823 and 1824. He was a very successful artist and, although never elected a member of the Academy, his reputation stood very high with the public. He became known in both England and France as the English Claude. This phrase was making comparison with Glover and the French seventeenth century artist Claude Lorrain, whose works collected by eighteenth century English "grand tourists", strongly influenced the evolution of the English style, in both painting and the layout of landscape gardens.

On his 64th birthday in 1831,Glover decided to move to Australia and arrived in Tasmania  He brought with him a strong reputation as a landscape painter. From April 1831 until early 1832 he lived in Hobart on a property named "Stanwell Hall", which can be seen in his work Hobart Town, taken from the garden where I lived.  In 1832 he acquired one of the largest grants of land in Van Diemen's Land at the time at Mills Plains, Deddington. 

Glover is best known now for his paintings of the Tasmanian landscape.  He gave a fresh treatment to the effects of the Australian sunlight on the native bushland by depicting it bright and clear, a definite departure from the darker "English country garden" paradigm. Note this example Patterdale Farm (circa 1840).  His treatment of the local flora was also new because it was a more accurate depiction of the Australian trees and scrubland. Glover noted the "remarkable peculiarity of the trees" in Australia and observed that "however numerous, they rarely prevent your tracing through them the whole distant country".

Natives on the Ouse River, Van Diemen’s Land (1838) is "informed by European notions of an Antipodean Arcadia, with Indigenous people living in a landscape unsullied by European contact."  John Glover's last major work was painted on his 79th birthday.

The John Glover Society was established on Aug 22, 2001 to honor and promote Glover's memory and his contribution to Australian art. The society commissioned a life-size statue of Glover, unveiled in February 2003 in Evandale, Tasmania. It also runs the annual Glover Prize, which is held in Evandale.

John Glover's work features in many prominent art galleries throughout Australia (and the world). His work has been the subject of numerous exhibitions and a symposium in Australia.

From 2004, The John Glover Society has awarded the Glover Prize for depictions of Tasmanian landscapes. It is the richest art prize in Australia for landscape painting.

Reference: 

- John Glover at the Art Gallery of New South Wales 

KANGCHENJUNGA PAINTED BY EDWARD LEAR

EDWARD LEAR (1812-1888)

Kangchenjunga (8, 538m -28,169 ft) 

India, Nepal border

The mountain 

Kangchenjunga  (8,586 m (28,169 ft)  is the third highest mountain in the world. It  lies partly in Nepal and partly in Sikkim, India. Kangchenjunga is the second highest mountain of the Himalayas after Mount Everest. Three of the five peaks – Main, Central and South – are on the border between North Sikkim and Nepal. Two peaks are in the Taplejung District, Nepal.

Kangchenjunga Main is the highest mountain in India, and the easternmost of the mountains higher than 8,000 m (26,000 ft).  Until 1852, Kangchenjunga was assumed to be the highest mountain in the world, but calculations based on various readings and measurements made by the Great Trigonometrical Survey of India in 1849 came to the conclusion that Mount Everest, known as Peak XV at the time, was the highest.  It is listed int the  Eight Thousanders and as Seven Third Summits   

Kangchenjunga is the official spelling adopted by Douglas Freshfield, A. M. Kellas, and the Royal Geographical Society that gives the best indication of the Tibetan pronunciation. Freshfield referred to the spelling used by the Indian Government since the late 19th century. There are a number of alternative spellings including Kangchendzцnga, Khangchendzonga, and Kanchenjunga.  Local Lhopo people believe that the treasures are hidden but reveal to the devout when the world is in peril; the treasures comprise salt, gold, turquoise and precious stones, sacred scriptures, invincible armor or ammunition, grain and medicine. Kangchenjunga's name in the Limbu language is Senjelungma or Seseylungma, and is believed to be an abode of the omnipotent goddess Yuma Sammang.

It rises in a section of the Himalayas called Kangchenjunga Himal that is limited in the west by the Tamur River, in the north by the Lhonak Chu and Jongsang La, and in the east by the Teesta River. It lies about 128 km (80 mi) east of Mount Everest.

Allowing for further verification of all calculations, it was officially announced in 1856 that 

Kangchenjunga was first climbed on 25 May 1955 by Joe Brown and George Band, who were part of a British expedition. They stopped short of the summit as per the promise given to the Chogyal that the top of the mountain would remain inviolate. Every climber or climbing group that has reached the summit has followed this tradition. Other members of this expedition included John Angelo Jackson and Tom Mackinon.  In May 1979,  Doug Scott, Peter Boardman and Joe Tasker established a new route on the North Ridge their third ascent which was the first one ever made without oxygen.

In 1983, Pierre Beghin made the first solo ascent accomplished without the use of supplemental oxygen.  In 1992, Wanda Rutkiewicz was  the first woman in the world to ascend and descend K2 and a world-renowned Polish climber, died after she insisted on waiting for an incoming storm to pass, which she did not survive.  In 1998, Ginette Harrison was the first woman who climbed Kangchenjunga North face ;  Gerlinde Kaltenbrunner, an Austrian mountaineer, was the second woman to reach the summit in 2006. 

In May 2014, the Bulgarian diabetic climber Boyan Petrov reached the peak without the use of supplemental oxygen. 
Sources: 
- Summitpost.org
-  PeakBagger
- Everest News.com

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 Lazio, Rome, Abruzzo, Molise, Apulia, Calabria, 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).

Sources: 

- Wikipedia