GRAND TETON PHOTOGRAPHED BY ANSEL ADAMS

ANSEL ADAMS (1902-1984)

Grand Teton  (4,199 m - 13,775 ft)

United States of America (Wyoming)

The Tetons and the Snake River in 1946, is one of the 115 images recorded on the 
Voyager Golden Record aboard the Voyager spacecraft.

The mountain 
Grand Teton (4,199 m - 13,775 ft) is the highest mountain in Grand Teton National Park in Northwest Wyoming, and a classic destination in American mountaineering. It is the highest point of the Teton Range, and the second highest peak in the U.S. state of Wyoming after Gannett Peak. The mountain is entirely within the Snake River drainage basin, which it feeds by several local creeks and glaciers.The Teton Range is a subrange of the Rocky Mountains, which extend from southern Alaska to northern New Mexico.
Grand Teton's name was first recorded as Mount Hayden by the Washburn-Langford-Doane Expedition of 1870. However, the name "the Grand Teton" had early currency. The Edition of April, 1901 of the USGS 1:125,000 quadrangle map of the area shows "Grand Teton" as the name of the peak. A United States National Park named "Grand Teton National Park" was established by law in 1929. By 1931, the name Grand Teton Peak was in such common usage that it was recognized by the USGS Board on Geographic Names. Another shift in usage led the Board to shorten the name on maps to Grand Teton in 1970.
The origin of the name is disputed. The most common explanation is that "Grand Teton" means "large teat" in French, named by either French-Canadian or Iroquois members of an expedition led by Donald McKenzie of the North West Company. However, other historians disagree, and claim that the mountain was named after the Teton Sioux tribe of Native Americans.

The photographer 

Ansel Easton Adams was an American photographer and environmentalist.
His black-and-white landscape photographs of the American West, especially Yosemite National Park, have been widely reproduced on calendars, posters, books, and the internet. Adams and Fred Archer developed the Zone System as a way to determine proper exposure and adjust the contrast of the final print. The resulting clarity and depth characterized his photographs. He primarily used large-format cameras because their high resolution helped ensure sharpness in his images. Adams founded the photography group known as Group f/64, along with fellow photographers Willard Van Dyke and Edward Weston and Imogen Cunningham.
In September 1941, Adams contracted with the Department of the Interior to make photographs of National Parks, Indian reservations, and other locations for use as mural-sized prints for decoration of the Department's new building. Part of his understanding with the Department was that he might also make photographs for his own use, using his own film and processing. Although Adams kept meticulous records of his travel and expenses, he was less disciplined about recording the dates of his images, and neglected to note the date of Moonrise, so it was not clear whether it belonged to Adams or to the U.S. Government. But the position of the moon allowed the image to eventually be dated from astronomical calculations, and it was determined that Moonrise was made on November 1, 1941, a day for which he had not billed the Department, so the image belonged to Adams. The same was not true for many of his other negatives, including The Tetons and the Snake River, which, having been made for the Mural Project, became the property of the U.S. Government.
When Edward Steichen formed his Naval Aviation Photographic Unit in early 1942, he wanted Adams to be a member, to build and direct a state-of-the-art darkroom and laboratory in Washington, D.C. In February 1942, Steichen asked Adams to join. Adams agreed, with two conditions: He wanted to be commissioned as an officer, and he also told Steichen he would not be available until July 1. Steichen, who wanted the team assembled as quickly as possible, passed Adams by, and had his other photographers ready to go by early April.
Adams was distressed by the Japanese American Internment that occurred after the Pearl Harbor attack. He requested permission to visit the Manzanar War Relocation Center in the Owens Valley, at the foot of Mount Williamson. The resulting photo-essay first appeared in a Museum of Modern Art exhibit, and later was published as Born Free and Equal: The Story of Loyal Japanese-Americans. He also contributed to the war effort by doing many photographic assignments for the military, including making prints of secret Japanese installations in the Aleutians. " It was met with some distressing resistance and was rejected by many as disloyal." Adams was the recipient of three Guggenheim fellowships during his career, the first in 1946 to photograph every National Park. This series of photographs produced memorable images of Old Faithful Geyser, Grand Teton (above), and Mount McKinley.
Romantic landscape artists Albert Bierstadt and Thomas Moran portrayed the Grand Canyon and Yosemite at the end of their reign, and were subsequently displaced by daredevil photographers Carleton Watkins, Eadweard Muybridge, and George Fiske.  But it was Adams's black-and-white photographs of the West which became the foremost record of what many of the National Parks were like before tourism, and his persistent advocacy helped expand the National Park system. He used his works to promote many of the goals of the Sierra Club and of the nascent environmental movement, but always insisted that, as far as his photographs were concerned, "beauty comes first". His images are still very popular in calendars, posters, and books. Realistic about development and the subsequent loss of habitat, Adams advocated for balanced growth, but was pained by the ravages of "progress". He stated, "We all know the tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people... The wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost nowhere." 
In 1966 he was elected a fellow of the American Academy of Arts and Sciences. In 1980 Jimmy Carter awarded him the Presidential Medal of Freedom, the nation's highest civilian honor.
Adams's photograph The Tetons and the Snake River was one of the 115 images recorded on the Voyager Golden Record aboard the Voyager spacecraft. These images were selected to convey information about humans, plants and animals, and geological features of the Earth to a possible alien civilization.

2016 - Wandering Vertexes...
Un blog de Francis Rousseau

FUJIYAMA / 富士山 (n° 33 c) BY HOKUSAÏ

KATSUSHIKA HOKUSAÏ (1760-1849) 

Fujiyama / 富士山 (3,776.24 m -12,389 ft)
Japan

A Mid breeze  on a fine day  (1830-35), early print,  n°33 from the series 36 Views of Mt. Fuji 
Art Institute of Chicago, USA 

About the 36 views of Mt Fuji 
Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjūrokkei) is a series of landscape prints　created by the Japanese ukiyo-e artist Hokusai (1760?1849). The series depicts Mount Fuji from different locations and in various seasons and weather conditions. The original thirty-six prints were so popular that Hokusai expanded the series by ten.
The earliest impressions appear faded when compared to the versions usually seen, but are closer to Hokusai's original conception. The original prints have a deliberately uneven blue sky, which increases the sky's brightness and gives movement to the clouds. The peak is brought forward with a halo of Prussian blue. Subsequent prints have a strong, even blue tone and the printer added a new block, overprinting the white clouds on the horizon with light blue. Later prints also typically employ a strong benigara (Bengal red) pigment, which lent the painting its common name of Red Fuji. The green block colour was recut, lowering the meeting point between forest and mountain slope.

The artist
Katsushika Hokusai (葛飾 北斎)  was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He was influenced by such painters as Sesshu, and other styles of Chinese painting. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 c. 1831) which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s.
Hokusai created the "Thirty-Six Views of Mt Fuji " both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. In this series, Mt Fuji is painted on different meteorological conditions, in different hours of the days and in different seasons.  None of the 36 view is the same, even if sometimes they appears closely similar. The 36 views are nowadays in different great international museums around the world.  It was this series, specifically The Great Wave print and Fine Wind, Clear Morning, that secured Hokusai’s fame both in Japan and overseas. While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition.

The mountain 
This is the legendary Mount Fuji or Fujiyama (富士山).
It is located on Honshu Island and is the highest mountain peak in Japan at 3,776.24 m (12,389 ft). Several names are attributed to it:  "Fuji-san", "Fujiyama" or, redundantly, "Mt. Fujiyama". Usually Japanese speakers refer to the mountain as "Fuji-san".  The other Japanese names for Mount Fuji,  have become obsolete or poetic like: Fuji-no-Yama (ふじの山 - The Mountain of Fuji), Fuji-no-Takane (ふじの高嶺- The High Peak of Fuji), Fuyō-hō (芙蓉峰 - The Lotus Peak), and Fugaku (富岳／富嶽), created by combining the first character of 富士, Fuji, and 岳, mountain.
Mount Fuji is an active stratovolcano that last erupted in 1707–08. Mount Fuji lies about 100 kilometres (60 mi) south-west of Tokyo, and can be seen from there on a clear day.
Mount Fuji's exceptionally symmetrical cone, which is snow-capped several months a year, is a well-known symbol of Japan and it is frequently depicted in art and photographs, as well as visited by sightseers and climbers.
Mount Fuji is one of Japan's Three Holy Mountains (三霊山) along with Mount Tate and Mount Haku. It is also a Special Place of Scenic Beauty and one of Japan's Historic Sites.
It was added to the World Heritage List as a Cultural Site on June 22, 2013. As per UNESCO, Mount Fuji has “inspired artists and poets and been the object of pilgrimage for centuries”. UNESCO recognizes 25 sites of cultural interest within the Mt. Fuji locality. These 25 locations include the mountain itself, Fujisan Hongū Sengen Shrine and six other Sengen shrines, two lodging houses, Lake Yamanaka, Lake Kawaguchi, the eight Oshino Hakkai hot springs, two lava tree molds, the remains of the Fuji-kō cult in the Hitoana cave, Shiraito Falls, and Miho no Matsubara pine tree grove; while on the low alps of Mount Fuji lies the Taisekiji temple complex, where the central base headquarters of Nichiren Shoshu Buddhism is located.

MONT VINAIGRE & L'ESTEREL PAINTED BY CLAUDE MONET

CLAUDE MONET (1840-1926) 

Mont Vinaigre  (618m - 2,027ft) 

France (Provence Alpes Côte d'Azur) 

In Antibes,Montagnes de L'Estérel, 1888, oil on canvas,  Courtauld Institute Galleries London 

The mountain 

This view of L'Esterel from Antibes by Monet allows to see the whole Massif of the Esterel from Frejus to Antibes and its seven summits which are from left to right:  Mont Vinaigre (618 m- 2,027 ft), Mont Suvières (558m - 1831ft), Sommet du Marsaou (548m -1,798ft), Pic de l'Ours (492m-1,614ft),  Pic du Cap-Roux  (453m-1,486ft), the Saint-Pilon (442 m-1,450ft) and the Sommet Pelet (439m-1,440ft). The Esterel Massif is a low altitude volcanic mountain range of 32,000 hectares located on the shores of the Mediterranean Sea. It covers the south-east of the Var, a small part located in the Alpes-Maritimes, France. Separated from the Moors by the valley of the Argens, the relief of the Estelle is shredded and deeply ravined. The massif extends over 320 km2 of which 130 km2 classified and protected. 60 km2 of state forest are maintained by the National Forestry Office.

The heart of the massif is protected by a decree of 1996. In the part of Alpes-Maritimes, a departmental park of 772 ha was created in 1997. It shelters a population of red deer, introduced in 1961. In the Var, a Biological reserve protects nearly 800 hectares. The massif is a site of the Natura 2000 network responsible for the preservation of nature in Europe.

Mount Vinaigre (Mount Vinagar) located in Frejus is the highest peak in the Massif de l' Esterel and was the hideout of robbers. Gaspard de Besse (1757-1781), which robbed travelers and tax agents in the 18th century, sheltered there. Mont Vinaigre was also the refuge of the convicts escaped from the jail in Toulon.Today, Mount Vinaigre is not completely accessible to the public It can be approached by taking  the road DN7 between Fréjus and Mandelieu-la-Napoule, 3 km before the crossing with the road D237. There, a paved DFCI trail could allow access to its summit but it ends 1 kilometer after the forest house of Malpey.  Only vehicles belonging to the French National Forestry Office or rescue vehicles are allowed to pass this point.

The painter 

Oscar-Claude Monet  better known as Claude Monet  was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term "Impressionism" is derived from the title of his painting « Impression, soleil levant » (Impression, Sunrise), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris.
Monet's ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons exactly like the japanese artist  Hokusai (1760-1849) did with his 36 views of Mount Fuji.
Monet has been described as "the driving force behind Impressionism". Crucial to the art of the Impressionist painters was the understanding of the effects of light on the local colour of objects, and the effects of the juxtaposition of colours with each other. Monet's long career as a painter was spent in the pursuit of this aim.
In 1856, his chance meeting with Eugene Boudin, a painter of small beach scenes, opened his eyes to the possibility of plein-air painting. From that time, with a short interruption for military service, he dedicated himself to searching for new and improved methods of painterly expression. To this end, as a young man, he visited the Paris Salon and familiarised himself with the works of older painters, and made friends with other young artists.[54] The five years that he spent at Argenteuil, spending much time on the River Seine in a little floating studio, were formative in his study of the effects of light and reflections. He began to think in terms of colours and shapes rather than scenes and objects. He used bright colours in dabs and dashes and squiggles of paint. Having rejected the academic teachings of Gleyre's studio, he freed himself from theory, saying "I like to paint as a bird sings."
In 1877 a series of paintings at  Gare St-Lazare had Monet looking at smoke and steam and the way that they affected colour and visibility, being sometimes opaque and sometimes translucent. He was to further use this study in the painting of the effects of mist and rain on the landscape.  The study of the effects of atmosphere were to evolve into a number of series of paintings in which Monet repeatedly painted the same subject in different lights, at different hours of the day, and through the changes of weather and season. This process began in the 1880s and continued until the end of his life in 1926.
His first series exhibited as such was of Haystacks, painted from different points of view and at different times of the day. Fifteen of the paintings were exhibited at the Galerie Durand-Ruel in 1891. In 1892 he produced what is probably his best-known series, Twenty-six views of Rouen Cathedral. In these paintings Monet broke with painterly traditions by cropping the subject so that only a portion of the facade is seen on the canvas. The paintings do not focus on the grand Medieval building, but on the play of light and shade across its surface, transforming the solid masonry.
Other series include Peupliers, Matins sur la Seine, and the Nenuphars  that were painted on his property at Giverny. Between 1883 and 1908, Monet traveled to the Mediterranean, where he painted landmarks, landscapes, and seascapes, including a series of paintings in Antibes (above)  and Venice. In London he painted four series: the Houses of Parliament, London ; Charing Cross Bridge, ; Waterloo Bridge, and Views of Westminster Bridge. Helen Gardner writes: "Monet, with a scientific precision, has given us an unparalleled and unexcelled record of the passing of time as seen in the movement of light over identical forms."

MAAT MONS SEEN BY NASA MAGELLAN MISSION

NASA MAGELLAN MISSION  (1989-1994)

Maat mons (8,000 m- 26,246ft)

Venus

photographed in 1990-92 in Alta Regio V236 and Stanton V 38 Quadrangle 

The mountain 

Maat Mons (8,000 m - 26,246ft or  8 km - 5.mi according to the way to measure mountains outside Earth planet) is a massive shield volcano located on the solar system planet Venus.  Maat Mons, named for an Egyptian goddess of truth and justice, is the second-highest mountain, and the highest volcano, on the planet Venus. 

Venus, named for the ancient Roman goddess of love and beauty, is the second planet from the sun and the closest planetary neighbor of Earth. Similar in structure and size to Earth, Venus spins slowly in the opposite direction most planets do. Its thick atmosphere traps heat in a runaway greenhouse effect, making it the hottest planet in our solar system with surface temperatures hot enough to melt lead. Glimpses below the clouds reveal volcanoes and deformed mountains.

Maat Mons is displayed in this three-dimensional perspective view of the surface of Venus. The viewpoint is located 560 kilometers (347 miles) north of Maat Mons at an elevation of 1.7 kilometers (1 mile) above the terrain. Lava flows extend for hundreds of kilometers across the fractured plains shown in the foreground, to the base of Maat Mons. The view is to the south with Maat Mons appearing at the center of the image on the horizon. Maat Mons, an 8-kilometer (5 mile) high volcano, is located at approximately 0.9 degrees north latitude, 194.5 degrees east longitude. 

Maat Mons has a large summit caldera, 28x31 km in size. Within the large caldera there are at least five smaller collapse craters, up to 10 km in diameter. A chain of small craters 3–5 km in diameter extends some 40 km along the southeast flank of the volcano, but rather than indicating a large fissure eruption, they seem to also be formed by collapse: full resolution imagery from the Magellan probe reveals no evidence of lava flows from these craters.

At least two large scale structural collapse events seem to have occurred in the past on Maat Mons.

Radar sounding by the Magellan probe revealed evidence for comparatively recent volcanic activity at Maat Mons, in the form of ash flows near the summit and on the northern flank.

Intriguingly for planetary geologists, atmospheric studies carried out by the Pioneer Venus probes in the early 1980s revealed a considerable variation in the concentrations of sulfur dioxide (SO2) and methane (CH4) in Venus' middle and upper atmosphere. One possible explanation for this was the injection of volcanic gases into the atmosphere by Plinian eruptions at Maat Mons.

Although many lines of evidence suggest that Venus is likely to be volcanically active, present-day eruptions at Maat Mons have not been confirmed.

Source: 

- NASA Solar system database 

- NASA Jet Propulsion Laboratory / CalTech

The image capturer

The Magellan spacecraft, named after the 16th century Portuguese explorer whose expedition first circumnavigated the Earth, was launched May 4, 1989, and arrived at Venus on August 10, 1990. Magellan's solid rocket motor placed it into a near-polar elliptical orbit around the planet. During the first 8-month mapping cycle around Venus, Magellan collected radar images of 84% of the planet's surface, with resolution 10 times better than that of the earlier Soviet Venera 15 and 16 missions. Altimetry and radiometry data also measured the surface topography and electrical characteristics.
During the extended mission, two further mapping cycles from May 15, 1991 to September 14, 1992 brought mapping coverage to 98% of the planet, with a resolution of approximately 100m.
Precision radio tracking of the spacecraft will measure Venus' gravitational field to show the planet's internal mass distribution and the forces which have created the surface features. Magellan's data will permit the first global geological understanding of Venus, the planet most like Earth in our solar system.

Magellan Synthetic Aperture Radar (SAR) data is combined with radar altimetry to develop a three-dimensional map of the surface. The vertical scale in this perspective has been exaggerated 22.5 times. Rays cast in a computer intersect the surface to create a three-dimensional perspective view. Simulated color and a digital elevation map developed by the U.S. Geological Survey, are used to enhance small-scale structure. The simulated hues are based on color images recorded by the Soviet Venera 13 and 14 spacecraft. The image was produced at the JPL Multimission Image Processing Laboratory.

Source: 
- NASA Jet Propulsion Laboratory / CalTech

MOUNT ZEIL / URLATHERRKE PAINTED BY ALBERT NAMATJIRA

ALBERT NAMATJIRA (1902-1959)  

Mount Zeil ot Urlatherrke  (1,531 m - 5,023 ft) 

Australia 

 In Mt Hermannsburg, 1957, watercolour 

The mountain 

Mount Zeil (1,531m - 5,023ft)  Urlatherrke  in aboriginal naming,  is a mountain situated in the western MacDonnell Ranges in Australia's Northern Territory. It is the highest peak in the Northern Territory, and the highest peak on the Australian mainland west of the Great Dividing Range. The others peaks of MacDonell Ranges are:  Mount Liebig (1,524m - 5,000 ft), Mount Edward  (1,423m - 4,669 ft), Mount Giles (1,389m - 4,557 ft) and Mount Sonder (1,380m - 4,530 ft). 

It is believed that Mount Zeil was named during or following Ernest Giles' 1872 expedition, probably after Count Zeil, who had recently distinguished himself with geographic explorations in Spitzbergen; a footnote in Giles' published journal implies that the naming was instigated by his benefactor, Baron Ferdinand von Mueller.

The MacDonnell Ranges, a mountain range and an interim Australian bioregion, is located in the Northern Territory, comprising 3,929,444 hectares (9,709,870 acres). The range is a 644 km (400 mi) long series of mountains located in the centre of Australia, and consist of parallel ridges running to the east and west of Alice Springs. The mountain range contains many spectacular gaps and gorges as well as areas of aboriginal significance. The ranges were named after Sir Richard MacDonnell (the Governor of South Australia at the time) by John McDouall Stuart, whose 1860 expedition reached them in April of that year. The Horn Expedition investigated the ranges as part of the scientific expedition into central Australia. Other explorers of the range included David Lindsay and John Ross.The headwaters of the Todd, Finke and Sandover rivers form in the MacDonnell Ranges. The range is crossed by the Australian Overland Telegraph Line and the Stuart Highway. Part of the Central Ranges xeric scrub ecoregion of dry scrubby grassland  the ranges are home to a large number of endemic species including the Centralian Tree Frog. This is mostly due to the micro climates that are found around the cold rock pools.

The MacDonnell Ranges were often depicted in the paintings of Albert Namatjira.

The Painter

Albert Namatjira  born Elea Namatjira, was a Western Arrernte-speaking Aboriginal artist from the MacDonnell Ranges in Central Australia. As a pioneer of contemporary Indigenous Australian art, he was the most famous Indigenous Australian of his generation.

Born and raised at the Hermannsburg Lutheran Mission outside Alice Springs, Namatjira showed interest in art from an early age, but it was not until 1934 (aged 32), under the tutelage of Rex Battarbee, that he began to paint seriously. Namatjira's richly detailed, Western art-influenced watercolours of the outback departed significantly from the abstract designs and symbols of traditional Aboriginal art, and inspired the Hermannsburg School of painting. He became a household name in Australia—indeed, reproductions of his works hung in many homes throughout the nation—and he was publicly regarded as a model Aborigine who had succeeded in mainstream society.

Although not the first Aboriginal artist to work in a European style, Albert Namatjira is certainly the most famous. Ghost gums with luminous white trunks, palm-filled gorges and red mountain ranges turning purple at dusk are the hallmarks of the Hermannsburg school. Hermannsburg Mission was established by Lutheran missionaries in 1877 on the banks of the Finke River, west of Mparntwe (Alice Springs). Namatjira learnt watercolour technique from the artist, Rex Battarbee.

Initially thought of as having succumbed to European pictorial idioms – and for that reason, to ideas of European privilege over the land – Namatjira’s landscapes have since been re-evaluated as coded expressions on traditional sites and sacred knowledge. Ownership of country is hereditary, but detailed knowledge of what it ‘contains’ is learnt in successive stages through ceremony, song, anecdote and contact. Namatjira’s father’s country lay towards Mount Sonder and Glen Helen Gorge, in the MacDonnell Ranges, and his mother’s country was in the region of Palm Valley in Central Australia. In Namatjira’s paintings, the totemic connections to his country are so indelible that, for example, Palm Valley the place and Palm Valley, c.1940s, the painting seem to intersect, detailing Namatjira’s artistic, cultural and proprietorial claim on the land.

 One of his first landscapes from 1936, Central Australian Landscape, shows a land of rolling green hills. Another early work, Ajantzi Waterhole (1937), shows a close up view of a small waterhole, with Namatjira capturing the reflection in the water. The landscape becomes one of contrasting colours, a device that is often used by Western painters, with red hills and green trees in Red Bluff (1938). Central Australian Gorge (1940) shows detailed rendering of rocks and reflections in the water. In Flowering Shrubs Namatjira contrasts the blossoming flowers in the foreground with the more barren desert and cliffs in the background. Namatjira's love of trees was often described so that his paintings of trees were more portraits than landscapes, which is shown in the portrait of the often depicted ghost gum in Ghost Gum Glen Helen (c.1945-49). Namatjira's skills at colouring trees can be clearly seen in this portrait. Namatjira was fully aware of his own talent, as was shown when he was describing another landscape painter to William Dargie: "He does not know how to make the side of a tree which is in the light look the same colour as the side of the tree in shadow...I know how to do better."

Namatjira's skills kept increasing with experience as is shown in the highly photographic quality of Mt Hermannsburg (1957) (above), painted only two years before he died.

 In 1957, Namatjira became the first Aboriginal person to be granted conditional Australian citizenship. This entitled him to limited social freedoms and to live in Mparntwe, although he was prohibited from purchasing land. His relations, including his children, were not permitted the same privileges. 

After an incident in 1958 that didn’t directly involve the artist, Namatjira was charged with supplying alcohol to members of the Aboriginal community – at the time, it was illegal for all Aboriginal people, except Namatjira, to possess and consume alcohol. Namatjira was sentenced to six months labour at Papunya and this, exacerbated by the authorities’ refusal to allow him to purchase the land of his ancestors, caused him profound despair. He served only two months, and died shortly after.

The more recent, dramatic success of the nearby Papunya Tula movement must be read against the history of its predecessor, the Hermannsburg school, which has endured for over half a century. In 2002, the centenary of Namatjira’s birth was celebrated with a major retrospective at the National Gallery of Australia, Canberra.

Source: 

- Art Gallery of New South Wales 

COL DU GEANT PHOTOGRAPHED BY BISSON FRERES

BISSON FRERES

Louis-Auguste Bisson (1814-1876) and Auguste-Rosalie (1826-1900) Bisson 

 The Col du Géant (3,356m - 11, 010 ft)   

France - Italy border  

Photographed in 1860

The mountain 

The col du Géant  (Pass of  the Giant) (3,356 m) is the main passage of the Mont Blanc massif between Courmayeur in the Aosta Valley and Chamonix-Mont-Blanc in the valley of the Arve. On the French side, to the north is the Glacier du Géant which overlooks the Mer de Glace.

The pass is located between the summits of the Tour Ronde and the Dent du Géant. Close to the pass are Helbronner Peak and the Torino refuge, where the Panoramic Mont-Blanc cable car arrives, which joins on one side the Aiguille du Midi and the other La Palud near Entrêves.

About the Col du Géant there is a pending dispute over the course of the frontier between France and Italy, similar to that concerning the summit of Mont Blanc. The Italian make the frontier passing in  the Col du Géant, whereas on French maps the frontier passes a hundred meters to the south, the Col du Géant being entirely in France. This dispute was revived in 2015, following the ban on access to the Géant glacier from the Torino refuge, by the Chamonix town hall authorities, for security reasons. The Italian newspaper La Stampa noted that if this dispute is anachronistic in the context of the European Community, it could nevertheless pose a problem of "criminal and civil liability if incidents were to occur in the icy zone. "

The photographers 

Bisson  Frères (Bisson Brothers) were among the best-known European photographers of the1850s and 1860s.   Louis-Auguste Bisson (1814–1876) was a 19th-century French photographer who opened a photographic studio in early 1841. Soon after, his brother Auguste-Rosalie Bisson (1826–1900) entered into partnership with him. Their studio was in the La Madeleine in Paris, and they became famous as the Bisson Frères. In 1860,  they accompanied the french Emperor Napoleon III and his wife Empress Eugénie, on the occasion of the reunion of Savoy with France. The Bissons  Brothers went to Chamonix to attempt the ascent of Mont-Blanc. They failed to reach the summit but the large glass negatives they produced during the climb were the basis of an album of twenty-four superb Alpine views.  Their most famous body of work is comprised of the high-altitude photographs they made in the Alps during the climbing seasons of 1859-1862. Despite the arduous conditions, the Bissons captured this masterful scene of an epic struggle by men intent on conquering nature--set against a magnificent landscape.Having received an encouraging response to his work, the following year Auguste ascended Mont Blanc, taking with him twenty-five porters to carry his equipment. The photographs were made using the Collodion process, with very large negatives, often up to 30 cm x 40 cm (12" x 16"). The brothers refused to reduce their images to the carte de visite size and, consequently, after four years, they ceased operating their business. One of the most famous works attributed to this artist is his photograph of the writer Honoré de Balzac and the portrait of the  composer Frédéric Chopin. The origin of the portrait of Chopin has never been adequately explained and, subsequently, the image was excluded from the "Les frères Bisson Photographes" exhibition at the Bibliothèque Nationale in 1999 in Paris.

ROCHE MIETTE PAINTED BY ARTHUR P. COLEMAN

ARTHUR P. COLEMAN (1852-1939)

 Roche Miette (2,316m - 7,600 ft) 

Canada

The mountain 

Roche Miette mountain  (2,316m - 7,600 ft) is part Miette Range (in the Canadian Rockies) located in the Athabasca River Valley southwest of Mountain Creek and northeast of Rocky River.  Roche Miette dominates the entrance to the Canadian Rockies. Ben Gadd, author of “Handbook of the Canadian Rockies” feels that the name "Miette" is derived from the Cree word "Myat," which means "bighorn sheep." He thinks that this makes a lot of sense, considering that sheep frequented the lower slopes of the mountain. According to Don Beers, author of “Jasper-Robson –A Taste of Heaven” the name was first recorded as Roche Miette in a journal written by Gabriel Franchere. However Don feels that the mountain was likely named after a voyageur named Baptiste Millette, who worked in the fur trade in the Athabasca River area during 1812 and 1813.  "Roche" is the French word for "rock"  and "Miette" means "crumb". Roche Miette is the official name but an other name is  often given : Millet's Rock. 

In their book, "The Northwest Passage by Land" (1865) William Fitzwilliam (Viscount Milton) and Walter Cheadle describe the northern cliffs of the mountain as they approached from the east as, "a cleft in the range, cut clean as with a knife" and that showed, "what we supposed to be the opening of the gorge through which we were to pass."

When James Hector visited the area in 1859 he wrote that, "Miette's Rock is a bold object, bounding the valley of the Athabasca to the south, and resembling the "Devil's Head which lies to the north of the Bow River". He tried to climb the mountain with Moberly, reaching a sharp peak high above any vegetation but the great cubical block still towered above them and they could go no higher.

In his book, "The Glittering Mountains of Canada" J. Monroe Thorington mentions that Dr. Hector (James Hector of the Palliser Expedition who travelled up the Athabasca Valley during the winter in early 1859) always enjoyed a mountain-scramble and wrote, "I started with Moberly to ascend the Roche Miette... After a long and steep climb, we reached a sharp peak far above any vegetation, and which, as measured by the aneroid, is 3500 feet above the valley. The great cubical block which forms the top of this mountain, still towered above us for 2000 feet, and is quite inaccessible from this side, and is said to have been only once ascended from the south side by a hunter named Miette, after whom it was named."

Legend has it that Bonhomme Miette was a French-Canadian voyageur who made the first ascent, climbing it from its south side. He became a well-known figure in French Canadian folklore and was said to have been a gifted fiddler and storyteller. When he reached the top, the story goes, he sat down, dangling his feet over the precipice, smoked his pipe, and as Miette himself put it "I been have de nice smoke up dere wit St. Peter on de gate." During the 1830's it is known that a man named Miette did live in the Athabasca Valley where he was a "company servant" who hauled coal from the area of Roche Miette to Jasper House as well as to Henry House at the mouth of the Miette River. Ben Gadd believes that Bonhomme Miette was a “legendary” voyageur as no one by that name worked for either the Hudson Bay Company or the Northwest Company during the years prior to 1814. 

Many early travelers wrote of Roche Miette with admiration but their enthusiasm was tempered by the barrier it presented. Roche Miette slopes steeply into the Athabasca and posed a serious obstacle to those travelling up the south bank of the river. Steep, downward sloping slabs of slippery rock often sent horses sliding down into the river at what became known as "Disaster Point." Early travelers attempted to negotiate a dangerous trail that climbed some 395 metres above the river. One referred to, "a very narrow pathway, with a perpendicular wall of rock on one side, and a steep declivity down to the edge of a precipice several hundred feel high on the other." The dangerous "nose" of Roche Miette remained an obstacle until it was blasted away by the railway builders in the early 1900's.

Arthur Coleman (painting above) exited the Canadian Rockies via the Athabasca Valley in 1907, describing Roche Miette as, "The most impressive bit of architecture along the Athabasca, pushing its bold front out into the valley like a commanding fort with unscalable walls three thousand feet high, and a flat top somewhat parapeted and loop-holed."

Climbing

North Face IV 5.8 A3

This climb takes on the impressive N face. An alpine rock route that starts off at a moderate standard (5.6-5.8) and ends up with some A3 thrown in near the end for a complete Rockies rock experience. The rock is excellent throughout, belays are good and the pitches are generally full 50 m affairs. Originally climbed with a bivi but this no doubt was a result of a 4 pm alpine start! It could be climbed in a day, though you will have to be slick to complete a round trip road to road in this time. 

The painter 

Arthur Philemon Coleman was a Canadian a geologist, professor, minerals prospector, artist, Rockies explorer, backwoods canoeist, world traveller, scientist, popular lecturer, museum administrator, memoirist and...  one of Canada’s most beloved scientist. 

Arthur Coleman is a fine example of that rare bird, a polished amateur artist whose drawings and paintings stand comfortably beside those of many professionals. He was active during the time when sketching and painting was ceding to photography the task of recording the visible world. Although he was also a photographer, painting was, for him, both a poetic and a descriptive pursuit, a way of wrapping an artistic expression around a phenomenon he was interested in or moved by. Thus motivated, Coleman's paintings give much joy and command a good deal of respect. The more surprising, perhaps given that he used to introduced himself more as a geologist than a painter.

Coleman travelled throughout the United States for professional conferences as well as geological field work.  He visited many of the major American mountain ranges including: the American Cordillera Mountains (Washington, Oregon and California); the Sierra Nevada Mountains (California and Nevada); Yellowstone National Park (Wyoming, Montana and Idaho); and the Appalachian Mountains (eastern United States). Pleistocene glaciation had extended in Northern Europe as far south as Berlin and London and covered an area of two million square miles. Coleman also visited such countries as India, Australia, Brazil, Argentina, Scandinavia, Bolivia, New Zealand, South Africa and Uruguay. In his final years he made two expeditions to the Andes in Colombia, to mountains in Southern Mexico and to two mountains in Central America.  He achieved the first ascent of Castle Mountain in 1884, and in 1907, he was the first white man to attempt to climb Mount Robson. He made a total of eight exploratory trips to the Canadian Rockies, wholly four of them looking for the mythical giants of Hooker and Brown. 

From 1901 to 1922, he was a Professor of Geology at the University of Toronto and was Dean of the Faculty of Arts from 1919 to 1922. From 1931 to 1934, he was a geologist with the Department of Mines of the Government of Ontario. He was elected a Fellow of the Royal Society of Canada in 1900 and was its President in 1921. In 1929, he was appointed Honorary Vice-President of the Royal Canadian Geographical Society.

 "Mount Coleman" and "Coleman Glacier" in Banff National Park is named in his honor.  He was awarded the Penrose Medal in 1936.

He planned to climb "hi" mountain, "Mount Coleman"'in the Albertan Rockies, and had also prepared a trip to British Guiana, but death intervened.

He was author of:

- Reports on the Economic Geology of Ontario (1903)

- Lake Ojibway; Last of the Great Glacial Lakes (1909) 

- The Canadian Rockies: New and Old Trails (1911)

- Ice Ages, Recent and Ancient (1926), and was co-author of Elementary Geology (1922).

- The Last Million Years (1941) edited by George F. Kay

LES AIGUILLES DE CHARMOZ ENGRAVED BY JEAN-ANTOINE LINCK

JEAN-ANTOINE LINCK (1766-1843)

 Les Aiguilles du Grand  Charmoz (3,445m - 11,302ft)

France

In La Mer de glace et les Aiguilles de Chamoz, 1799, oil on canvas,
Bibliothèque publique et universitaire de Genève, Switzerland

The mountain 

The Aiguille des Grands Charmoz (3,445 m), is one of the Chamonix needles in the Mont Blanc massif. It is made up of a ridge bristling with " gendarmes", including La Carrée, and Bâton Wicks.

The first ascent was done on August 9, 1885 by H. Dunod and P. Vignon with the guides J. Desailloux, F. Folliguet, F. and G. Simond, by the corridor Charmoz-Grépon. It is today the normal way of descent, the climb generally being made by the south-west slope and the northwestern edge (AD +), climbed 15 July 1880 by Albert F. Mummery with Alexandre Burgener and Benedikt Venetz, which stopped before the summit at point 3 435 m. The Aiguille des Grands Charmoz is linked with the Aiguille du Grépon for the crossing of Charmoz-Grépon (D), one of the great rocky classics of the Mont Blanc massif. The first crossing was done by Laurent Croux in 1904. The first ascent of the north face, via the needle of the Republic, and crossing the edges of the Charmoz was done by Raymond Leininger and G. Bicavelle in 1946. In 1974, Jean-Claude Droyer succeeded the solo climb of the western pillar of the Grand Charmoz (Cordier lane opened in 1970 by Patrick Cordier).
The Mt Blanc is one of the 7 highest summits in earth, (which are obviously 8 with 2 in Europe !):
Mount Everest (8,848m), Aconcagua (6,961m), Mt Denali or Mc Kinley (6,194m),  Kilimandjaro (5,895m), Mt Elbrus (5,642m), Mount Vinson (4,892m) and Mount Kosciuszko  (2,228m) in Australia.

The artist

Jean-Antoine Linck, is a swiss painter and draftsman who lived and worked at the end of the 18th century and beginning of 19th century, at the time nature and mountains were up to date in high society  in Switzerland and France.He is the son of Jean-Conrad, an enameller and engraver from Geneva who initiates his apprenticeship. He was then trained by Carl Hackert with Wolfgang Adam Toepffer. In 1802, he opened his own studio in Geneva, in the district of Montbrillant. His works, depicting the surroundings of Geneva, Savoy, the Alps and the Mont Blanc, were inspired by those of the great master of that " genre" Johann Ludwig Aberli and were successful with Josephine de Beauharnais, the French Empress and Catherine II, the Russian Empress, meanwhile alpine tourism began to develop.

MOUNT SIR DONALD PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT (1811-1902)

Mount Sir Donald  (3, 284 m - 10,774  ft)

Canada

 In Mount Sir Donald, oil on canvas The Haggin Museum, Stockton, California

The mountain 

Mount Sir Donald  (3, 284 m - 10,774  ft) is a peak in the Selkirk Mountains range near the Rogers Pass area of British Columbia, Canada. It was originally named Syndicate Peak in honor of the group who arranged the finances for the completion of the Canadian Pacific Railway, but was later renamed after Donald Smith, 1st Baron Strathcona and Mount Royal, head of the syndicate.

The  good rock quality  of Mount Sir Donald and  its classic Matterhorn shape make it popular for alpine rock climbers, and the Northwest Arete route is included in the popular book 50 Classic Climbs of North America. There are no truly easy routes to its summit although some of the routes are not technically difficult. Even before its inclusion as one of the 50 classic climbs of North America the peak was a very popular objective indeed, especially the Northwest Ridge. It is worth noting that the peak seems to create its own weather at times as it towers above the surrounding peaks, and the lichen on the rock is very slippery when wet. The recorded routes on all sides range in rating from class 4 to 5.8+.

The first ascent was made in 1890 by two Swiss alpinist, Emil Huber and Carl Sulzer and porter Harry Cooper. As of the 1910s, an average of three or four ascents per year were being made.

The painter 

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

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

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

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

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

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

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

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

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

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

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

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

Bierstadt's theatrical art, fervent sociability, international outlook, and unquenchable personal energy reflected the epic expansion in every facet of western civilization during the second half of the nineteenth century. Bierstadt was a prolific artist, having completed over 500 paintings during his lifetime. Many of these are held by museums across the United States.

Several mountain paintings by Bierstadt are published in this blog.  To find them, go to his name in the column on the right and just click on his name. 

Sources: 

- Appletons' Cyclopedia of American Biography. New York: D. Appleton.

- Collier's New Encyclopedia. New York: P.F. Collier & Son Company

MOUNT WILLIAM PAINTED BY EUGENE VON GUERARD

EUGENE VON GUERARD (1811-1901)

Mount William or Mount Duwil (1, 167 m - 3, 829 ft)

Australia

 In Mount William seen from Mount Dryden,1857, oil on canvas, National Gallery of Australia

The mountain 

Mount William also called  Mount Duwil  (1, 167 m - 3, 829 ft) is the highest point within the Grampians Mountain Range, (Grampians National Park) in the Australian state of Victoria. The mountain is situated approximately 250 kilometres (160 mi) west-north-west of Melbourne on the eastern edge of the national park, approximately 22 kilometres (14 mi) drive from Halls Gap.
In 1836, sir Thomas Mitchell  was the first man to reached the summit with a group of explorers i. The first settler in the area was Horatio Wills, who established a sheep run at Mount William in 1840, and named nearby Mount Ararat, after which the town is named. His son, cricketer and Australian rules football pioneer Tom Wills, grew up as a lone white child among the Djab wurrung Aboriginal tribes of Mount William. Three transmission towers are located at the summit of Mount William including an amateur radio repeater. A sealed service road continues to the summit, but is not accessible by vehicle to the general public.
Visitors to the mountain can drive to a carpark located approximately 920 metres (3,020 ft) up the mountain, before proceeding on foot for 1.8 kilometres (1.1 mi) to the summit. It will take a person of moderate fitness approximately 45 mins to walk. No permit is required to climb the mountain.
Source: 
- Grampians National Park 

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.
Several paintings of mountains of Australia and New Zealand by Eugène von Guerard are published in this blog....
Sources: 
- Dictionnary of Australian Artists, Oxford University Press, 1992

ULURU / AYERS ROCK PAINTED BY PETER TAYLOR TJUTJATJA

PETER TAYLOR TJUTJATJA (1940-2014)

Uluru /Ayers Rock  (863m -2,831 ft)

 Australia  (Northern Territory)

The mountain 

Uluru (863m - 2,831 ft) also known as Ayers Rock (in honour of the then Chief Secretary of South Australia, Sir Henry Ayers) is a large sandstone rock formation in the southern part of the Northern Territory in central Australia.
Officially the rock is gazetted as "Uluru / Ayers Rock"
It lies 335 km (208 mi) south west of the nearest large town, Alice Springs, 450 km (280 mi) by road.
Kata Tjuta and Uluru are the two major features of the Uluṟu-Kata Tjuṯa National Park. Uluru is sacred to the Pitjantjatjara Anangu, the Aboriginal people of the area. The area around the formation is home to an abundance of springs, waterholes, rock caves, and ancient paintings.  Both Uluru and the nearby Kata Tjuta formation have great cultural significance for the Aṉangu people, the traditional inhabitants of the area, who lead walking tours to inform visitors about the local flora and fauna, bush food and the Aboriginal dreamtime stories of the area.
Uluru is notable for appearing to change colour at different times of the day and year, most notably when it glows red at dawn and sunset.
Uluru is listed as a UNESCO World Heritage Site.
Uluru is an inselberg, literally "island mountain". An inselberg is a prominent isolated residual knob or hill that rises abruptly from and is surrounded by extensive and relatively flat erosion lowlands in a hot, dry region.  Uluru is also often referred to as a monolith, although this is a somewhat ambiguous term that is generally avoided by geologists. The remarkable feature of Uluru is its homogeneity and lack of jointing and parting at bedding surfaces, leading to the lack of development of scree slopes and soil. These characteristics led to its survival, while the surrounding rocks were eroded. For the purpose of mapping and describing the geological history of the area, geologists refer to the rock strata making up Uluru as the Mutitjulu Arkose, and it is one of many sedimentary formations filling the Amadeus Basin.
According to the Aṉangu, traditional landowners of Uluru:
The world was once a featureless place. None of the places we know existed until creator beings, in the forms of people, plants and animals, traveled widely across the land. Then, in a process of creation and destruction, they formed the landscape as we know it today. Aṉangu land is still inhabited by the spirits of dozens of these ancestral creator beings which are referred to as Tjukuritja or Waparitja.
There are a number of differing accounts given, by outsiders, of Aboriginal ancestral stories for the origins of Uluru and its many cracks and fissures. One such account, taken from Robert Layton's (1989) Uluru: An Aboriginal history of Ayers Rock, reads as follows:
Uluru was built up during the creation period by two boys who played in the mud after rain. When they had finished their game they travelled south to Wiputa ... Fighting together, the two boys made their way to the table topped Mount Conner, on top of which their bodies are preserved as boulders.
Two other accounts are given in Norbert Brockman's (1997) Encyclopedia of Sacred Places.
The first tells of serpent beings who waged many wars around Uluru, scarring the rock. The second tells of two tribes of ancestral spirits who were invited to a feast, but were distracted by the beautiful Sleepy Lizard Women and did not show up. In response, the angry hosts sang evil into a mud sculpture that came to life as the dingo. There followed a great battle, which ended in the deaths of the leaders of both tribes. The earth itself rose up in grief at the bloodshed, becoming Uluru.
The Commonwealth Department of Environment's webpage advises:
Many...Tjukurpa such as Kalaya (Emu), Liru (poisonous snake), Lungkata (blue tongue lizard), Luunpa (kingfisher) and Tjintir-tjintirpa (willie wagtail) travel through Uluṟu-Kata Tjuṯa National Park. Other Tjukurpa affect only one specific area.
Kuniya, the woma python, lived in the rocks at Uluru where she fought the Liru, the poisonous snake.
It is sometimes reported that those who take rocks from the formation will be cursed and suffer misfortune. There have been many instances where people who removed such rocks attempted to mail them back to various agencies in an attempt to remove the perceived curse.
Climbing Uluru
The local Aṉangu do not climb Uluru because of its great spiritual significance. They request that visitors do not climb the rock, partly due to the path crossing a sacred traditional Dreamtime track, and also due to a sense of responsibility for the safety of visitors. The visitors guide says "the climb is not prohibited, but we prefer that, as a guest on Aṉangu land, you will choose to respect our law and culture by not climbing.
The Aṉangu also request that visitors do not photograph certain sections of Uluru, for reasons related to traditional Tjukurpa beliefs. These areas are the sites of gender-linked rituals and are forbidden ground for Aṉangu of the opposite sex to those participating in the rituals in question. The photographic restriction is intended to prevent Aṉangu from inadvertently violating this taboo by encountering photographs of the forbidden sites in the outside world.

The painter 

Peter Taylor Tjutjatja was born c. 1940 at Oodnadatta, south-east of Alice Springs, in the Simpson Desert. As a small boy he travelled with his father often by camel or horse, to Horseshoe Bend Station, where his father worked as a station-hand. From there they travelled north working from station to station until they came to Hermannsburg, a Western Arrernte community in the MacDonnell Ranges, west of Alice Springs.
Hermannsburg in central Australia is the homeland of Albert Namatjira - the most famous Aboriginal painter of all time. Peter, as a small boy living in Hermannsburg was influenced by Albert Namatjira's central desert landscapes. While attending school in Adelaide, Peter showed an interest in drawing and his skills were further developed by his art teacher Trevor Clare.
Peter attended an exhibition of Albert Namatjira in Adelaide, which made him very homesick for his old beloved homeland. Peter returned to Alice Springs in his twenties, where he sat with Keith Namatjira and Clem Abbott to paint landscapes in watercolours which was later purchased in 1995 by Peter's tribal group Pwerte Marnte Marnte.
Peter travelled to Shanghai in 2013 as part of a Desart program and his work is exhibited in numerous private collections and important galleries. Peter was commissioned by Princess Anne to paint five landscapes of Central Australia.
Sadly in November 2014 Peter was involved in a car accident and tragically passed away. Out of respect of Aboriginal culture and Peter’s family Central Art has removed his photograph. Naming Aboriginal people who have passed away was traditionally forbidden. Traditionally you are required to avoid referring to the deceased directly by name as a sign of respect. This has also come to include photographs, filming and voice recordings as technology has grown. Central Art acknowledges that we have named Peter on our website however it is linguistically difficulty to promote his works without naming him.

EL MISTI (GUAGUA PUTINA) PHOTOGRAPHED BY MARTIN CHAMBI

 MARTIN CHAMBI (1893-1983) 

El Misti or Guagua Putina (5,822m -19,101ft)

Peru

3 photos of El Misti from Arequipa between 1917-1930 

Martin Chambi Archivo Fotografico 

The mountain 
El Misti (5,822m -19,101ft) also known as Guagua Putina, is a stratovolcano located in southern Peru near the city of Arequipa. With its seasonally snow-capped, symmetrical cone, Misti lies between mount Chachani (6,075m - 19,931ft) and Pichu Pichu volcano (5,669 m -18,599 ft).
El Misti  is located at 3,415m above the sea level on the Altiplano and the elevation of the cone is approximatively 2,400m  above the Altiplano base. El Misti has three concentric craters. In the inner crater fumarole activity can often be seen. The symmetric conical shape of El Misti is typical of a stratovolcano, a type of volcano characterized by alternating layers of lava and debris from explosive eruptions, such as ash and pyroclastic flows. Stratovolcanoes are usually located on the continental crust above a subducting tectonic plate. The magma feeding the stratovolcanoes of the Andes Mountains, including El Misti, is associated with ongoing subduction of the Nazca Plate beneath the South American Plate. Its most recent relatively minor eruption was in 1985, 198 years after its previous documented eruption. Near the inner crater six Inca mummies and rare Inca artifacts were found in 1998 during a month-long excavation directed by archaeologists Johan Reinhard and Jose Antonio Chavez. These findings are currently stored at the Museo de Santuarios Andinos in Arequipa.
The city center of Arequipa, Peru, lies only 17 kilometers (11 miles) away from the summit of El Misti; the gray urban area is bordered by green agricultural fields. With almost 1 million residents in 2009, it is the second largest city in Peru in terms of population. Much of the building stone for Arequipa, known locally as sillar, is quarried from nearby pyroclastic flow deposits that are white. Arequipa is known as the “White City” because of the prevalence of this building material. The Chili River extends northeastwards from the city center and flows through a canyon between El Misti volcano and Nevado Chachani to the north. Nevado Chachani is a volcanic complex that may have erupted during the Holocene Epoch (from about 10,000 years ago to the present), but no historical eruptions have been observed there.
Climbing
There are two main climbing routes on the volcano. The Pastores route starts at 3,300 m-10,800 f). Usually a camp is made in 4,500 m -14,800 ft  at Nido de Aguilas. The Aguada Blanca route starts at 4,000 m- 13,100 ft near the Aguada Blanca reservoir, and a camp is made in 4,800 m -15,700 ft at Monte Blanco (the camp is named after Mont Blanc, the summit of which is approximately the same elevation as the camp). Neither climbing routes presents technical difficulties, but both are considered strenuous because of the steep loose sand slopes.

The photographer 
Martín Chambi Jiménez or Martín Chambi de Coaza, was a photographer, originally from southern Peru. He was one of the first major indigenous Latin American photographers. Recognized for the profound historic and ethnic documentary value of his photographs, he was a prolific portrait photographer in the towns and countryside of the Peruvian Andes. As well as being the leading portrait photographer in Cuzco, Chambi made many landscape photographs, which he sold mainly in the form of postcards, a format he pioneered in Peru.
In 1979, New York's MOMA held a Chambi retrospective, which later traveled to various locations and inspired other international expositions of his work.
Martín Chambi was born into a Quechua-speaking peasant family in one of the poorest regions of Peru, at the end of the nineteenth century. When his father went to work in a Carabaya Province gold mine on a small tributary of the River Inambari, Martin went along. There he had his first contact with photography, learning the rudiments from the photographer of the Santo Domingo Mine near Coaza (owned by the Inca Mining Company of Bradford, Pa). This chance encounter planted the spark that made him seek to support himself as a professional photographer. With that idea in mind, he headed in 1908 to the city of Arequipa, where photography was more developed and where there were established photographers who had taken the time to develop individual photographic styles and impeccable technique.
Chambi initially served as an apprentice in the studio of Max T. Vargas, but after nine years set up his own studio in Sicuani in 1917, publishing his first postcards in November of that year. In 1923 he moved to Cuzco and opened a studio there, photographing both society figures and his indigenous compatriots. During his career, Chambi also travelled the Andes extensively, photographing the landscapes, Inca ruins, and local people.
The archives of Martin Chambi's works are kept in Cuzco in his own  house and by the care of his family. Everything is preserved in boxes, left by the photographer, classified and numbered by his own hand. A recent inventory has enumerated about 30,000 photographic plates and more than 12,000 to 15,000 photograph (rolls). Scanning work is in progress to retrieve photographic plates and photos.
"It is wrong to focus too much on the testimonial value of his photos. They have that, indeed, but, in equal measure they express the milieu in which he lived and they show (...) that when he got behind a camera, he became a giant, a true inventor, a veritable force of invention, a recreator of life."
 (Mario Vargas Llosa)
Sources:
 - Martin Chambi official Website

GRAND GOLLIAT PAINTED BY GUSTAVE COURBET

GUSTAVE COURBET (1819-1877)

Grand Golliat (3,238m - 10, 623ft)

Italy - Switzerland border

In Le chalet dans la montagne, Suisse (Tour-de-Peilz, Vevey) vers 1874, oil on canvas, 
 The Pouchkine State  Museum of Fine Arts, Moscow

The mountain 

The Grand Golliat  (3,238m - 10, 623ft), also spelled Grand Golliaz is a mountain of the Pennine Alps, located between the Petit Col Ferret and the Great St. Bernard Pass. Is summit straddles the border between Switzerland and Italy, separating the Swiss canton of Valais from the Italian region of Aosta Valley. The name Golliat does not come from the Bible hero Goliath but from "Goilles" which are small lakes or water springs located on the Italian side of the mountain.

Huge bulwark made by two summits justified S-N: the Piccolo (3.234m) and the Grand Golliaz or Golliat;  the most important summit of the range between Mont Blanc and Velan-Combin Groups on the border ridge between Italy and Switzerland. Magnificent panoramic tower in the NW side of Val d'Aosta with a great round view even on Swiss giants. The bad quality rock doesn't allow fine climbing routes, the icy routes (N wall) are interesting but dangerous for the continuous rock falls in the channels. The SE side, ski-mountaneering route, requires well tidy snow.
The Grand Golliat is the southernmost mountain rising above 3,000 metres in Switzerland.
Source: 

- Summit post. org 

The painter 

Jean Désiré Gustave Courbet was a French painter who led the Realist movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and the Romanticism of the previous generation of visual artists. His independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator and as an artist willing to make bold social statements through his work.

Courbet's paintings of the late 1840s and early 1850s brought him his first recognition. They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects. Courbet's subsequent paintings were mostly of a less overtly political character: landscapes, seascapes, hunting scenes, nudes and still lifes. He was imprisoned for six months in 1871 for his involvement with the Paris Commune, and lived in exile in Switzerland from 1873 until his death.

Courbet  painted a few mountains in his life : the Juras mountains around Ornans ( France) and a few  mountains in Switzerland during his exil; Like many painters of the 19th Century, Courbet didn't name the mountain he painted; he liked to give a description of the general atmosphere rather than  a precise geographical location. 

 "I am fifty years old and I have always lived in freedom; let me end my life free; when I am dead let this be said of me: 'He belonged to no school, to no church, to no institution, to no academy, least of all to any régime except the régime of liberty."

NORTH CAPE PAINTED BY PEDER BALKE

PEDER BALKE (1804 -1887)

North Cape  (307m - 1,007 ft)

Norway

The cliff 
North Cape (307m - 1,007 ft), Nordkapp in  Norwegian, named by the Englishman Steven Borough, captain of the Edward Bonaventure, which sailed past in 1553 in search of the Northeast Passage, is a cape on the northern coast of the island of Magerшya in Northern Norway. The cape is in Nordkapp Municipality in Finnmark county, Norway. The European route E69 highway has its northern terminus at North Cape, since it is a popular tourist attraction. The cape includes a 307-metre (1,007 ft) high cliff with a large flat plateau on top where visitors can stand and watch the midnight sun or the views of the Barents Sea to the north. A new visitor centre was built in 1988 on the plateau with panoramic views, a cafй, restaurant, post office, souvenir shop, and a so-called super video cinema.
The steep cliff of North Cape is located at 71°10′21″N 25°47′04″E, about 2,102.3 kilometres (1,306.3 mi) from the North Pole. It is often referred to as the northernmost point of Europe. However, the neighbouring Knivskjellodden point, just to the west actually extends 1,457 metres (4,780 ft) further to the north. Furthermore, both of these points are situated on an island; the northernmost point of mainland Europe is located at Cape Nordkinn (Kinnarodden) which lies about 5.7 kilometres (3.5 mi) further south and about 70 kilometres (43 mi) to the east. That point is located near the village of Mehamn on the Nordkinn Peninsula. The northernmost point of Europe including islands is several hundred miles further north, either in Russia's Franz Josef Land or Norway's Svalbard archipelago, depending on whether Franz Josef Land is considered to be in Europe or in Asia.
The North Cape is the point where the Norwegian Sea, part of the Atlantic Ocean, meets the Barents Sea, part of the Arctic Ocean. The midnight sun can be seen from 14 May to the 31st of July.
The sun reaches its lowest point from 12:14 - 12:24 a.m. during those days.
The North Cape is reached by European route E69 highway through the North Cape Tunnel, an undersea tunnel connecting the island of Magerшya to the mainland. The EuroVelo bicycle route EV1 runs from North Cape to Sagres, Portugal—a 8,196 kilometres (5,093 mi) distance by land and sea.
Regular buses run from the nearby town of Honningsvеg to the North Cape (36 kilometres (22 mi)), and coaches meet the many cruise ships that call at the port of Honningsvеg. The nearest airport is Honningsvеg Airport, Valan.
During winter season, it is also possible to visit North Cape, however the last stretch of road is only open for convoy driving at fixed hours. The road all the way through Norway up to North Cape is kept open during winter and is accessible to regular vehicles with some specific winter precautions being required to deal with the hard snow and wind conditions that may occur in winter. Before this, E69 was the only winter closed E road in Europe.

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.