COL DU BONHOMME BY EUGENE VIOLLET-LE-DUC

EUGENE VIOLLET-LE-DUC (1814-1879),

Col du Bonhomme (2,329 m - 7,641 ft)

France (Alpes) 

In Le col du Bonhomme, le Cervin du Breuil, 1862, watercolor, Musée Lambinet Versailles, France  

The mountain

The Col du Bonhomme (2,329 m - 7,641 ft) is a pass that connects the Val Montjoie to the Beaufortain. It is located between the Mount du Rocher du Bonhomme and the Aiguilles de Pennaz. It is one of the passes crossed on the hiking trail of the Tour du Mont Blanc near the refuge of the Col de la Croix du Bonhomme at 2,443 meters.

In 1355, following the Treaty of Paris, the Faucigny passed from the possession of the counts of Geneva to that of the county of Savoy and the Col du Bonhomme lost its status of frontier to become  part of the "House of Savoy". On the night of the 27th of August, 1689, at Prangins, near Nyon, on the shore of Lake Geneva (Switzerland), about a thousand men try to go back to their Piedmont valley. In nine days they traveled 200 km by passing the massif of Mont Blanc by the Col du Bonhomme to reach Sibaud (Bobbio Pellice). This first trek,  with quite a lot of victims, was called the "Glorious Retreat".  Following the visit of the Emperor Napoleon III after the annexation of Savoy to France (1860), the path of the Col du Bonhomme is laid out (1861-1866). The free zone was subsequently reduced in 1919 by France at the end of the First World War by the Treaty of Versailles.

Nowadays, from the bottom of the Contamines-Montjoie valley, in Notre-Dame-de-la-Gorge, the climb takes from 2 to 3 hours, making it accessible to a large number of walkers. It can also be reached from Les Chapieux, the Gittaz dam and the Gittes crest path.

The artist 
Eugène Emmanuel Viollet-le-Duc (not to be confused with the writer Violette Leduc) was a French architect and theorist, famous for his interpretive "restorations" of medieval buildings.  But he was, as well, an excellent but less famous watercolorist, sketching quite a number of mountains and volcanoes all over Europe.
Born in Paris, he was a major Gothic Revival architect. His works were largely restorative and few of his independent building designs were ever realised. Strongly contrary to the prevailing Beaux-Arts architectural trend of his time, much of his design work was largely derided by his contemporaries. He was the architect hired to design the internal structure of the Statue of Liberty, but died before the project was completed.
During the early 1830s, a popular sentiment for the restoration of medieval buildings developed in France. Viollet-le-Duc, returning during 1835 from study in Italy, was commissioned by Prosper Mérimée to restore the Romanesque abbey of Vézelay. This work was the first of a long series of restorations; Viollet-le-Duc's restorations at Notre Dame de Paris with Jean-Baptiste Lassus brought him national attention. His other main works include Mont Saint-Michel, Carcassonne, Roquetaillade castle and Pierrefonds.
Viollet-le-Duc's "restorations" frequently combined historical fact with creative modification. For example, under his supervision, Notre Dame was not only cleaned and restored but also "updated", gaining its distinctive third tower (a type of flèche) in addition to other smaller changes. Another of his most famous restorations, the medieval fortified town of Carcassonne, was similarly enhanced, gaining atop each of its many wall towers a set of pointed roofs that are actually more typical of northern France. Many of these reconstructions were controversial. Viollet-le-duc wanted what he called ‘a condition of completeness' which never actually existed at any given time. This approach to restoration was particularly problematic when buildings survived in a mixture of styles. For instance, Viollet-le-Duc eliminated eighteenth-century additions to Notre Dame. Both his theory and his practice were strongly criticized on the grounds that only what had once been in place should be reconstructed. At the same time, in the cultural atmosphere of the Second Empire theory necessarily became diluted in practice: Viollet-le-Duc provided a Gothic reliquary for the relic of the Crown of Thorns at Notre-Dame in 1862, and yet Napoleon III also commissioned designs for a luxuriously appointed railway carriage from Viollet-le-Duc, in 14th-century Gothic style.
Among his restorations were:
- Churches :
Notre-Dame in Paris, Abbey of the Mont Saint-Michel, Basilica of St. Mary Magdalene in Vézelay, St. Martin in Clamecy,  Sainte-Chapelle in Paris, Basilica of St. Denis near Paris, St. Louis in Poissy, Notre-Dame in Semur-en-Auxois, Basilica of St. Nazarius and St. Celsus in Carcasonne, Basilica of St. Sernin in Toulouse, Notre-Dame in Lausanne (Switzerland).
Town halls:
- Saint-Antonin-Noble-Val, Narbonne
Castles:
- Château de Roquetaillade in Bordeaux, Château de Pierrefonds, Fortified city of Carcassonne, Château de Coucy, Antoing in Belgium, Château de Vincennes in  Paris.
When monuments was to much damaged, he sometimes  obtain from the emperor Napoleon III the permission to entirely rebuilt it,  like he did in Avignon with the Popes ramparts all around the city.

SAN JACINTO PEAK BY ALFRED. R. MITCHELL

ALFRED R. MITCHELL (1888-1972) 

San Jacinto Peak (3, 302m - 10,834 ft)

United States of America (California) 

In Road to Borrego - San Jacinto mountains in summer, oil on canvas,  Private collection  

The mountain 

The San Jacinto  Peak (3, 302m - 10,834 ft) is the highest poeak of the San Jacinto Mountains (Avii Hanupach in Mojave), a mountain range, in Riverside County, east of Los Angeles southern California in the United States.   The range extends for approximately 30 mi (50 km) from the San Bernardino Mountains southeast to the Santa Rosa Mountains. The San Jacinto Mountains are the northernmost of the Peninsular Ranges, which run 1,500 km (930 mi) from Southern California to the southern tip of the Baja California Peninsula. 

The Coachella Valley stretches along the eastern side of the range, including the cities of Palm Springs and Rancho Mirage. San Gorgonio Pass separates the range from Mount San Gorgonio to the north. The western slope holds the community of Idyllwild. The range is the eastern boundary of the San Jacinto Valley, location of Hemet; it also marks the eastern edge of the fast-growing Inland Empire region and Greater Los Angeles as a whole. Much of the range is embraced by the Santa Rosa and San Jacinto Mountains National Monument created in 2000. 

Mount San Jacinto State Park is located along the flank of San Jacinto Peak. Part of the eastern flank of the range is located within the Agua Caliente Indian Reservation. In 1990 the California Legislature created the Coachella Valley Mountains Conservancy to protect the mountains surrounding the valley.

The San Jacinto Mountains, like the neighboring San Bernardino Mountains, are a humid island above the surrounding desert and semi-desert.  The range can be thought of as a sky island, as it contains numerous species of flora and fauna that cannot tolerate the triple-digit-Fahrenheit heat of the surrounding valleys. Vegetation found on the mountain flanks is strongly influenced by elevation and climate.  At higher elevations, forests include Ponderosa pine, Jeffrey pine, Lodgepole pine, Incense cedar, White fir, Red fir, and deciduous oak. There is also a grove of over 150 Giant Sequoia Trees on the northeast facing slope. The sequoias (native to the Sierra Nevada Mountains) were planted by the U.S. Forest Service in the 1970s, and are now apparently healthy and producing seedlings. As in many other western U.S areas, bark beetle infestations have caused loss of some of the forest trees in recent years, especially during droughts. 

The indigenous Cahuilla live in the deserts around the San Jacinto Mountains and used the range for hunting, foraging, and to escape the summer heat.

Hollywood film directors have used the mountains to shoot film scenes. In Frank Capra's 1937 film, Lost Horizon, the falls in Tahquitz Canyon was used as a scene.

Today, the range is a destination for outdoor recreation. The Pacific Crest Trail runs along the spine of the range. 

The  artist

Alfred R. Mitchell  was an American landscape painter. Educated at the Pennsylvania Academy of Fine Arts, he was the president of the San Diego Art Guild and the La Jolla Art Association. He became known as the "Dean of San Diego County artists".

Alfred R. Mitchell was born  in York, Pennsylvania and moved to San Diego, California in 1908. He and studied with Maurice Braun in 1915. Mitchell won a silver medal at the 1915 Panama–California Exposition.  He served in the United States Army during World War I.  He enrolled at the Pennsylvania Academy of Fine Arts in 1916, and won the Cresson Traveling Scholarship and the Edward Bok Philadelphia Prize to visit museums in Europe in 1920; he graduated from the academy in 1921. Mitchell was the President of the San Diego Art Guild and the co-founder of the San Diego Museum of Art.  He was a co-founder of the Fine Arts Society of San Diego in 1925.  He was also the founding secretary of the Associated Artists of San Diego in 1929; it later changed its name to Contemporary Artists of San Diego. Mitchell was also the founder of the Chula Vista Art Guild in Chula Vista, California in 1945. He was the co-founder and president of the La Jolla Art Association in La Jolla, California from 1951 to 1961. He exhibited his artwork at the San Diego Fine Arts Gallery from 1920 to 1927, and the La Jolla Library from 1923 to 1966.

GRINDELWALD VALLEY PAINTED BY CASPAR WOLF

CASPAR WOLF  (1735-1783)

Grindelwald Valley (1,034 m -3,392 ft) 

Switzerland

 In Grindelwald, vue du glacier inférieur sous l'orage, 1775, oil on canvas 

The spot 

Grindelwald (1,034 m 3,392 ft) designates a valley, a village and a municipality in the Interlaken-Oberhasli administrative district in the canton of Berne in Switzerland. In addition to the village of Grindelwald, the municipality also includes the settlements of Alpiglen, Burglauenen, Grund, Itramen, Mühlebach, Schwendi, Tschingelberg and Wargistal. Three major swiss peaks overlooking Grindelwald: the Eiger (3,970 m - 13, 020ft), the Mettenberg (3,104m -10,184ft), the Wetterhorn (3,692m - 12, 133ft). 

The Painter 

Caspar Wolf was a Swiss painter, known mostly for his dramatic paintings of Alps. He was strongly influenced by Albrecht von Hallers poem on the Alps, and the Sturm und Drang movement. After 1773 Wolf mostly painted glaciers, caves, waterfalls and gorges.

Wolf was trained in Konstanz, between 1753 and 1759 he worked in Augsburg, Munich, Passau as a decoration painter. Not being able to sell his work he went disappointed back to his home town. For Horben Castle he painted by hand the wallpaper on the first floor. In 1768 Wolf lived in Basel. From 1769 till 1771 he stayed in Paris and worked with Philip James de Loutherbourg. In 1774 he moved to Bern. Wolf made a deal with the local publisher Abraham Wagner who had a geological interest, to deliver 200 paintings. He travelled with Wagner or a minister Jakob Samuel Wyttenbach in Berner Oberland and Wallis. From 1780-1781 he was working in Spa, Cologne, Aix-la-Chapelle and Düsseldorf. He died in poor circumstances in a hospital.

In 1779 his prints were exhibited in Bern but the book failed to sell. Wagner received help from a Swiss army officer in Dutch service and in 1785 thirty aquatints were published in Amsterdam. Till 1948 ninety of these aquatints were exhibited in Keukenhof Castle, but sold. Today these works can be seen in the Kunsthaus in Aarau. His son Theodor Wolf (1770–1818) was a still life painter.

JEBEL TOUBKAL BY WALTER MITTELHOLZER

WALTER MITTELHOLZER (1894-1937)

Jebel Toubkal (4,167 m - 13, 671 ft) 

Morocco 

 In Jebel Toubkal Aerial view, 1932.

The mountain 

Jebel Toubkal  is the high point of the High Atlas as well as Morocco and North Africa . It is located 63 km south of Marrakech, in the province of Al Haouz, inside the national park that bears its name.
The word Toubkal would be a deformation of French origin of the same Amazigh name Tugg Akal or toug-akal  which means "the one who looks up the earth". The people of this region still use this name.  The Toubkal massif is made up of rocks of various natures. Dark rocks of volcanic origin are found on the summits of andesite and rhyolite. Glaciers have left characteristic marks of their passage in the form of valleys in trough. During the Würm glaciation, the present valley of Assif n'Ait Mizane  was occupied by the longest glacier in the Atlas, about 5 km long.
The climate at Jebel Toubkal is mountainous. The snow falls in winter and covers the summit.
In the nineteenth century, the interior of Morocco was still terra incognita for the Europeans and for a long time the jebel Ayachi (3,747 m -12,293ft) ) passed for the highest summit of the High Atlas. In fact, the Toubkal was officially climbed for the first time only on 12 June 1923 by the Marquis de Segonzac, accompanied by Vincent Berger and Hubert Dolbeau. The cairns which they found on the summit had been built by the Berbers of the environs for whom the Toubkal is a holy place dedicated to Sidi Chamarouch (or Chamharouch). A sanctuary is dedicated to him on the way from Imlil to Toubkal.
The ascent of the roof of North Africa attracts a large number of followers of the trekking. This ascent attracts the crowd as much as it does not present great technical difficulties and that the assistance of the muleteers and their mules reduces the physical efforts. The altitude is relatively high (3,200 meters at the shelter and 4,167 meters at the summit).
Climbing
Summer is the most suitable season because snow and snowfalls are absent but brief and violent thunderstorms can occur. The normal route of the southern Ikhibi is the most frequented. From the top a wide panorama is offered to the rewarding gaze of the efforts provided. The vast expanses of the Atlas and the Great South are dominated by the Jebel Sirwa, 50 km to the southeast, and the vast ridge of the Jebel M'Goun, 150 km to the northeast. You can also see the summit of the station of Oukaimden. The tourist wave has altered the lives of the Berber mountaineers living in the neighborhood. Many inhabitants now work in tourism: muleteers, guides, gentists, cooks, transporters. The village of Imlil, the last village accessible by road, from Asni, and just two days' walk north of the Toubkal, is a true "Moroccan Chamonix". Two refuges are located at an altitude of 3,200 meters, two or three hours' walk from the summit. Not far from the summit of Toubkal is another attraction, Lake Ifni, accessible by the Tizi n'Ouanoums Pass (3,664 m) - 12, 021 ft).

The photographer
Walter Mittelholzer was a Swiss aviation pioneer. He was active as a pilot, photographer, travel writer, and also as one of the first aviation entrepreneurs.
Mittelholzer earned his private pilot's license in 1917, and in 1918 he completed his instruction as a military pilot.  On November 5, 1919 he co-founded an air-photo and passenger flight business, Comte, Mittelholzer, and Co. In 1920 this firm merged with the financially stronger Ad Astra Aero. Mittelholzer was the director and head pilot of Ad Astra Aero which later became Swissair.
He made the first North-South flight across Africa. It took him 77 days. Mittelholzer started in Zürich on December 7, 1926, flying via Alexandria and landing in Cape Town on February 21, 1927. Earlier, he had been the first to do serious aerial reconnaissance of Spitsbergen, in a Junkers monoplane, in 1923.  On December 15, 1929 he became the first person to fly over Mt. Kilimanjaro, and planned to fly over Mount Everest in 1930.  In 1931, Mittelholzer was appointed technical director of the new airline called Swissair, formed from the merger of Ad Astra Aero and Balair. Throughout his life he published many books of aerial photographs. He died in 1937 in a climbing accident on an expedition in the Hochschwab massif in Styria, Austria.
Among other Swiss air pioneers, he is commemorated in a Swiss postage stamp issued in January 1977.

___________________________________________
2017 - Wandering Vertexes...
by Francis Rousseau 

ISMOIL SOMOLI PEAK IN VINTAGE STAMPS

VINTAGE STAMPS (1986, 1997, 2003) 

Ismoil Somoli Peak (7,495m- 24,590 ft)

Republic of Tajikistan  

1. In Pik Kommunisma, 198,  issued USSR, Courtesy mountainstamp.com 

2.  In Pik Ismoil Somoni, Republic of Tajikistan 1997, Courtesy  mountainstamp.com 

3.   In Pik Ismoil Somoni from Moskvin Base Camp, Tajikistan 2003, Courtesy  mountainstamp.com 

The mountain 

Ismoil Somoni Peak (7,495m- 24,590 ft) also called  Pink Kommunizma is the highest mountain in Tajikistan. It is one of the five Snow Leopard mountains. It was within the territory of the former Russian Empire and the former Soviet Union before the area became independent as Tajikistan. 

The official name is nowadays Pik/Peak Ismail Somoni, but the name hasn't stuck and a guess is that it never will. The name of the peak is a little history of itself. It was called Pik Garmo until 1933, when it was changed to Pik Stalin.  In 1962, Nikita Krushchev decided to change the name to Pik Kommunizma. In 1998 the leadership of Tajikistan decided to baptize the peak after the founder of the original Tajik state - Ismail Somoni,  ruler of the Samanid dynasty.
Ismoil Somoni Peak is a huge peak and even though it's surrounded by other high mountains it really dominates the area. It is located in a sub-range of the Pamirs called Akademii Nauk or the Academy of Science Range. The first expedition to the mountain was done in 1932, but wasn't climbed until the year after. The first ascent was made via the east ridge in september 3, 1933. The two summiteers were Eugeny Abalakov and Nikolay Gorbunov.
Source: Summit post.org 

THE JUNGFRAU, MÖNCH AND EIGER SEEN BY EMIL NOLDE

EMIL NOLDE  (1867-1956)

The Jungfrau (4,158 m - 13, 642 ft)  

 The Mönch (4,107 m - 13,474 ft)

The Eiger (3,970 m -13,020 ft)

Switzerland

In Jungfrau, Mönch et Eiger, 1910

The mountains 

The Jungfrau (4,158 m - 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc.
- More about the Jungfrau 

The Mönch  (4,107 m - 13,474 ft) is a mountain in the Bernese Alps, in Switzerland.  The Mönch lies on the border between the cantons of Valais and Bern, and forms part of a mountain ridge between the Jungfrau and Jungfraujoch to the west, and the Eiger to the east. It is west of Mцnchsjoch, a pass at 3,650 metres (11,980 ft), Mцnchsjoch Hut, and north of the Jungfraufirn and Ewigschneefдld, two affluents of the Great Aletsch Glacier. The north side of the Mцnch forms a step wall above the Lauterbrunnen valley. The Jungfrau railway tunnel runs right under the summit, at an elevation of approximately 3,300 metres (10,830 ft). The peak was first climbed 159 years ago in 1857 on August 15, ascended by Christian Almer, Christian Kaufmann, Ulrich Kaufmann and Sigismund Porges.

The Eiger (3,970 m- 13,020 ft) is located in the  Bernese Alps, overlooking Grindelwald and Lauterbrunnen in the Bernese Oberland, just north of the main watershed and border with Valais. It is the easternmost peak of a ridge crest that extends across the Mцnch to the Jungfrau, constituting one of the most emblematic sights of the Swiss Alps. While the northern side of the mountain rises more than 3,000m -10,000 ft above the two valleys of Grindelwald and Lauterbrunnen, the southern side faces the large glaciers of the Jungfrau-Aletsch area, the most glaciated region in the Alps. The most notable feature of the Eiger is its 1,800-metre-high - 5,900 ft north face of rock and ice, named Eigerwand or Nordwand, which is the biggest north face in the Alps. This huge face towers over the resort of Kleine Scheidegg at its base, on the homonymous pass connecting the two valleys.
- More about the Eiger 


The painter 
Emil Nolde (born Emil Hansen) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke (The Bridge) of Dresden in 1906, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.
Nolde's intense preoccupation with the subject of flowers reflects his continuing interest in the art of Vincent van Gogh.
From the early 1920s,  Nolde was a supporter of the Nazi party, having become a member of its Danish section. He expressed anti-semitic, negative opinions about Jewish artists, and considered "Expressionism to be a distinctively Germanic style". This view was shared by some other members of the Nazi party, notably Joseph Goebbels and Fritz Hippler.
However Hitler rejected all forms of modernism as "degenerate art", and the Nazi regime officially condemned Nolde's work. Until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, more than those of any other artist.  Some were included in the Degenerate Art exhibition of 1937, despite his protests, including (later) a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint—even in private—after 1941. Nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the "Unpainted Pictures".
In 1942 Nolde wrote: "There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones...and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed."
After World War II, Nolde was once again honored, receiving the German Order of Merit, He died in Seebüll (now part of Neukirchen). The Schiefler Catalogue raisonné of his prints describes 231 etchings, 197 woodcuts, 83 lithographs, and 4 hectographs.

About this work 
The postcards series date from  pre-expressionist phase of Nolde’s career (though he was around 30 when he created them). After hiking in the Swiss Alps, Nolde did a painting, Mountain Giants, presenting the mountains in human form. Nolde wrote : “The picture went to the annual exhibition in Munich in 1896. [Ferdinand] Hodler’s picture “Night”  which established his fame, was also there. But my “Mountain Giants" was soon returned, rejected… In those days there was a general and stormy derision and ridicule about each of Hodler’s pictures. ‘And his colors are as ugly as can be possible!’ What help was my contradiction and my firm conviction that his sinuous, pushing, wry bodies are part of the character of the mountain folk, just as the firs on the mountain slopes are gnarled and grown oddly.” From then, he painted practically every Swiss Alps Summit in human form: the Cervin / Matterhorn, the Zugspitze, the Waxenstein, the Eiger, the Monch, the Jungfrau, the Grand Saint- Gothard, Piz Bernina, the Morteratch, the Ortler, the Finsteraarhorn... they will be posted one by one in this blog.

CUYAMACA PEAK PAINTED BY CHARLES A. FRIES

CHARLES A. FRIES (1854-1940) 

Cuyamaca Peak (1, 986 m- 6,515 ft)  

United States of America (California) 

In Cuyamaca Peak, 1914, oil on canvas, The San Diego Museum of Art (SDMA)

The mountain 

Cuyamaca Peak (1, 986 m- 6,515 ft) is a mountain peak of the Cuyamaca Mountains range, in San Diego County, southern California.  Its summit is the second highest point in San Diego County, after Hot Springs Mountain. Cuyamaca Peak is located roughly 40 miles (64 km) from the Pacific Ocean, within Cuyamaca Rancho State Park. It is east of the city of San Diego and southwest of Julian.

A popular 3.5-mile (5.6 km) year round hike to the summit of Cuyamaca leads from the Paso Picacho Campground, starting at about 5,000 feet (1,500 m).

Snows in winter are common above 5,000 feet (1,500 m) and surrounding regions in Cuyamaca Rancho State Park. 

The significant elevation of Cuyamaca relative to its surrounding landscape catches Pacific moisture easily, forming clouds which are forced to release their moisture in order to pass East, resulting in average annual precipitation between 20 and 32 inches. 

On clear days visibility from the summit of Cuyamaca Peak can range from 60–100 miles (97–161 km) in nearly every direction. To the west, the Pacific Ocean, the Coronado Islands of Mexico, the coast line of San Diego County, Viejas Mountain, and El Cajon Mountain can be seen.

Looking north, one can see 6,140-foot (1,870 m) Palomar Mountain among the ridge of Palomar Mountains. On very clear days 8,716-foot (2,657 m) Toro Peak in the Santa Rosas and the San Jacintos are visible. Closer yet is Volcan Mountain slightly to the northeast, the former gold rush town of Julian lying in front. Directly north are the closest summits, Middle and North Peaks.

Directly east is the Anza Borrego Desert and the Laguna Mountains, including Whale Peak. Far beyond is the Salton Sea. To the south are Lyons Peak and Lawson Peak; further yet and to the southeast are Mexican border mountains such as Table Top Mountain and the Sierra de Juбrez.

During summer, Bracken Ferns, a variety of wildflowers and native bunchgrasses dominate mountain meadows and the forest floor. Prior to the Cedar Fire, Black oaks once lit up the mountain

In October 2003, the Cedar Fire, the largest fire in recorded California history, burned the once abundant White Fir (Abies concolor), Incense Cedar (Calocedrus decurrens), Jeffrey Pine, Coulter Pine, Sugar Pine, and Black oak (Quercus kelloggii) that once lined the mountain. Small seedlings of new White fir, Sugar Pine, Coulter Pine, Jeffrey Pine, and Incense Cedar were seen within a year of the Cedar Fire, and were thriving as saplings by 2007, an example of fire ecology.

 Source: 

 - Wikipedia 

The painter 

Charles Arthur Fries, illustrator, painter and teacher, was born in Hillsboro, Ohio. Raised in Cincinnati, he attended the Art Academy there at a time when it was considered one of the most notable in the United States. Among his fellow students were J. H. Twachtman, Robert Blumen, and Kenyon Cox. After marrying in 1887, he moved his studio to New York City where he was popular as an illustrator and portraitist while living on a farm in Vermont. In 1896 the Fries family headed west and, upon arriving in Southern California, temporarily lived in the ruins of the unrestored mission at San Juan Capistrano. The artist established himself in San Diego in 1897. Sporting a Van Dyke beard and flowing black bow tie, he was often seen riding about San Diego on his bicycle with painting gear in its basket. Fries was later referred to as the “Dean of San Diego Painters”. He devoted his canvases to landscape painting and focused on the desert, the mountains, and eucalyptus trees. His works are sound in craftsmanship and bright in atmospheric light. 

A memorial exhibition was held at the Fine Arts Gallery of San Diego in 1941, one year after his death. Charles Arthur Fries was a member: San Diego Art Guild; Laguna Beach AA; La Jolla AA; Calif. Art Club; San Diego Contemporary Artists. Exhibited: California State Fair, 1930; California Pacific International Exposition, San Diego 1935; GGIE, 1939, Awards: silver medal, Seattle Fine Arts Society, 1911; silver medal, Panama-California Exposition, San Diego, 1915.

 His works are held by the San Diego Museum of Art and the San Diego History Center.

 Source: 

- San Diego History Center

PIZ CORVATSCH BY FERDINAND HODLER

FERDINAND HODLER (1853-1918) 

Piz Corvatsch (3,451m - 11, 322 ft)

Switzerland

In Piz Corvatsch, oil on canvas, 1907

The mountain
Piz Corvatsch (3,451m- 11, 322 ft) is a mountain in the Bernina Range of the Alps, overlooking Lake Sils and Lake Silvaplana in the Engadin region of the canton of Graubünden in Switzerland. It is the highest point on the range separating the main Inn valley from the Val Roseg. Aside from Piz Corvatsch, two other slightly lower summits make up the Corvatsch massif: Piz Murtèl (3,433 m (11,263 ft); north of Piz Corvatsch) and the unnamed summit where lies the Corvatsch upper cable car station (3,303 m (10,837 ft); north of Piz Murtèl). Politically, the summit of Piz Corvatsch is shared between the municipalities of Sils im Engadin and Samedan, although the 3,303 m high summit lies between the municipalities of Silvaplana and Samedan. The tripoint between the aforementioned municipalities is the summit of Piz Murtèl.
Several glaciers lie on the east side on the massif. The largest, below Piz Corvatsch, is named Vadret dal Murtèl. The second largest, below Piz Murtèl and the station, is named Vadret dal Corvatsch. The Corvatsch cable car starts above the village of Surlej, east of Silvaplana and culminates at 3,298 m. From there, the summit of Piz Corvatsch can be reached by traversing Piz Murtиl. In winter and spring, the mountain is part of a ski area, which is amongst the highest in Switzerland and the Eastern Alps.

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

___________________________________________

2017 - Wandering Vertexes...

by Francis Rousseau 

QULLIQIP'UNQU BY MARTIN CHAMBI

MARTIN CHAMBI (1893-1973),

Qullqip'unqu mountain (5,522m - 18,117ft)

Peru 

In Pilgrim at Quyllu rit'i in Qullqip'unqu mountain, 1930, Martin Chambi official Website

The mountain 

Qullqip'unqu (Quechua qullqi money) is a mountain in the Andes of Peru and the name of a lake near the peak. It is situated in the northern extensions of the Willkanuta mountain range in the Cusco Region, Quispicanchi Province, in the districts Ccarhuayo and Ocongate and in the Paucartambo Province, Kosсipata District. Qullqip'unqu lies northwest of the lake Sinkrinaqucha, southeast of Minasniyuq.  The lake named Qullqip'unqu is situated south of the mountain at 13°32′04″S 71°12′29″W. The annual Quyllur Rit'i festival takes place at the foot of the mountains Qullqip'unqu and Sinaqara. The ukukus (Cusco Quechua ukuku spectacled bear (or just 'bear'), also a character in the Andean mythology) of all the groups climb the glaciers of Qullqip'unqu and spend the night there. They return, carrying on their backs huge ice blocks for the people of their community. The waters of the mountain are believed to heal the body and the mind.

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)

THE MONT BLANC PAINTED BY ALBERT MARQUET

ALBERT MARQUET  (1875–1947) 

The Mont Blanc (4,808.13 m - 15,776.7 ft)

  France - Italy  border

In  Le Léman vu de Montreux, le Mont Blanc, 1937, oil on canvas, Private collection  

The mountain 

Mont Blanc (in French) or Monte Bianco (in Italian), both meaning "White Mountain", is the highest mountain in the Alps and the highest in Europe after the Caucasus peaks. It rises 4,808.73 m (15,777 ft) above sea level and is ranked 11th in the world in topographic prominence.  The Mont Blanc is one of the Seven Summit, which includes the highest mountains of each of the seven continents. Summiting all of them is regarded as a mountaineering challenge, first achieved on April 30, 1985 by Richard Bass.  The 7 highest summit, (which are obviously 8 with 2 in Europe !) are :  

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 mountain lies in a range called the Graian Alps, between the regions of Aosta Valley, Italy, and Savoie and Haute-Savoie, France. The location of the summit is on the watershed line between the valleys of Ferret and Veny in Italy and the valleys of Montjoie, and Arve in France. The Mont Blanc massif is popular for mountaineering, hiking, skiing, and snowboarding.

The three towns and their communes which surround Mont Blanc are Courmayeur in Aosta Valley, Italy, and Saint-Gervais-les-Bains and Chamonix in Haute-Savoie, France.  A cable car ascends and crosses the mountain range from Courmayeur to Chamonix, through the Col du Géant. Constructed beginning in 1957 and completed in 1965, the 11.6 km (7¼ mi) Mont Blanc Tunnel runs beneath the mountain between these two countries and is one of the major trans-Alpine transport routes.

Since the French Revolution, the issue of the ownership of the summit has been debated.... 

More about Mont Blanc 

The painter 
Albert Marquet was a French painter, associated with the Fauvist movement. He initially became one of the Fauve painters and a lifelong friend of Henri Matisse. In 1890 Marquet moved to Paris to attend the Ecole des Arts Decoratifs, where he met Henri Matisse. They were roommates for a time, and they influenced each other's work. Marquet began studies in 1892 at the École des Beaux-Arts de Paris under Gustave Moreau, the famous symbolist artist. In 1905 he exhibited at the Salon d'Automne. Dismayed by the intense coloration in these paintings, critics reacted by naming the artists the "Fauves", i.e. the wild beasts. Although Marquet painted with the fauves for years, he used less bright and violent colours than the others, and emphasized less intense tones made by mixing complementaries, thus always as colors and never as grays.
Marquet subsequently painted in a more naturalistic style, primarily landscapes, but also several portraits and, between 1910 and 1914, several female nude paintings.
From 1907 to his death, Marquet alternated between working in his studio in Paris (a city he painted a lot of times) and many parts of the European coast and in North Africa. He was most involved with Algeria and Algiers and with Tunisia. He remained also impressed particularly with Naples and Venice where he painted the sea and boats, accenting the light over water.  During his voyages to Germany and Sweden he painted the subjects he usually preferred: river and sea views, ports and ships, but also cityscapes.
Marquet was particularly revered by the American painters Leland Bell and his wife Louisa Matthiasdottir. He was also revered by Bell's contemporaries Al Kresch and Gabriel Laderman. Since both Bell and Laderman were teachers in several American art schools, they have had an influence on younger American figurative artists and their appreciation of Marquet.
Matisse said ; "When I look at Hokusai, I think of Marquet—and vice versa ... I don't mean imitation of Hokusai, I mean similarity with him".

DIENG VOLCANIC COMPLEX PAINTED BY RADEN SALEH

RADEN SALEH (1811-1880)

Dieng Volcanic Complex (2,565m -8,415ft) 

Indonesia, Java 

In Dieng Mountain, 1862, oil on canvas,  Rijksmuseum, Amsterdam

The mountain

Dieng Volcanic Complex (2,565m -8,415ft)  is on the Dieng Plateau, a marshy plateau that forms the floor of a caldera complex near Wonosobo, Central Java, Indonesia. Referred to as "Dieng" by Indonesians, it sits at 2,000 metres (6,600 ft) above sea level, far from major population centres. The name "Dieng" comes from Di Hyang which means "Above of the Gods". 

The volcanic complex consists of two stratovolcanoes with more than 20 small craters and Pleistocene-to-Holocene age volcanic cones. It covers over 6 × 14 km area. The Prahu stratovolcano was truncated by a large Pleistocene caldera and then filled by parasitic cones, lava domes and craters. Some of them are turned into lakes. Toxic volcanic gas has caused fatalities and is a hazard at several craters. On 20 February 1979, 149 people died of gas poisoning in Pekisaran village on the plateau near the Sinila crater. The area is also a major geothermal project.

Part of General Sudirman's guerrilla campaign during the Indonesian War of Independence took place in the area.

The painter 

Raden Saleh Sjarif Boestaman was a pioneering Indonesian Romantic painter of Arab-Javanese ethnicity.  He was considered to be the first "modern" artist from Indonesia (then Dutch East Indies), and his paintings corresponded with nineteenth-century romanticism which was popular in Europe at the time. He also expressed his cultural roots and inventiveness in his work.

Raden Saleh Sjarif Boestaman was born in 1811 in Semarang on the island of Java into a noble Hadhrami family where his father was Sayyid Husen bin Alwi bin Awal bin Yahya, an Indonesian of Arab descent. 

Young Raden Saleh was first taught in Bogor by the Belgian artist A.J. Payen. Payen acknowledged the youth's talent, and persuaded the colonial government of the Netherlands to send Raden Saleh to the Netherlands to study art.  He arrived in Europe in 1829 and began to study under Cornelius Kruseman and Andreas Schelfhout. From Schelfhout, Raden Saleh furthered his skills as a landscape painter. 

During his stay in Paris, Saleh met Horace Vernet whose painting frequently took themes of African wildlife. Compared to Vernet, Saleh's painting seems to be more influenced by the romantic painter Eugène Delacroix. This could be seen in one of Saleh's work, Hunting Lion, 1840, which has similar composition to Delacroix's La Liberté guidant le peuple. However, Werner Kraus, a researcher in the Southeast-Asian Art Center of Passau, German, said that Saleh "never mentioned Delacroix. Perhaps he saw Delacroix's, and possibly Vernet's, works during an exhibition."

While in Europe, in 1836 Saleh became the first indigenous Indonesian to be initiated into Freemasonry. From 1839, he spent five years at the court of Ernest I, Duke of Saxe-Coburg and Gotha, who became an important patron.

Raden Saleh returned to Dutch East Indies in 1852 after living in Europe for 20 years.  He worked as conservator for the colonial collection of government art and continued painting portraits of the Javanese aristocracy, and many more landscape paintings. 

Raden Saleh visited several European cities.  Many of his paintings were exhibited at the Rijksmuseum in Amsterdam. Several of his paintings were destroyed when the Colonial Dutch pavilion in Paris was burnt in 1931.

Source:

- Raden Saleh: The Romantic Aristocrat

JEBEL OUANOUKRIM BY WALTER MITTELHOLZER

WALTER MITTELHOLZER (1894-1937)

Jebel Ouanoukrim (4,089 m - 13,415 ft) 

Morocco

The mountain 
Jebel Ouanoukrim  (4,089 m - 13,415 ft)  is a mountain in Morocco located in the Atlas Mountains, south of Marrakech and just southwest of the Jebel Toubkal, the highest point of this country.
It consists of two summits: the Timesguida or Timzguida the highest with 4,089 meters of altitude, and just north of Ras n'Ouanoukrim which culminates at 4,083 meters above sea level; These two peaks are separated by a small pass at an altitude of 3,968 meters. This altitude of 4,089 meters gives the djebel Ouanoukrim the title of the second highest peak in North Africa and Morocco behind the Jebel Toubkal. The whole mountain is included in the National park of Toubkal.

The photographer
Walter Mittelholzer was a Swiss aviation pioneer. He was active as a pilot, photographer, travel writer, and also as one of the first aviation entrepreneurs.
Mittelholzer earned his private pilot's license in 1917, and in 1918 he completed his instruction as a military pilot.  On November 5, 1919 he co-founded an air-photo and passenger flight business, Comte, Mittelholzer, and Co. In 1920 this firm merged with the financially stronger Ad Astra Aero. Mittelholzer was the director and head pilot of Ad Astra Aero which later became Swissair.
He made the first North-South flight across Africa. It took him 77 days. Mittelholzer started in Zürich on December 7, 1926, flying via Alexandria and landing in Cape Town on February 21, 1927. Earlier, he had been the first to do serious aerial reconnaissance of Spitsbergen, in a Junkers monoplane, in 1923.  On December 15, 1929 he became the first person to fly over Mt. Kilimanjaro, and planned to fly over Mount Everest in 1930.  In 1931, Mittelholzer was appointed technical director of the new airline called Swissair, formed from the merger of Ad Astra Aero and Balair. Throughout his life he published many books of aerial photographs. He died in 1937 in a climbing accident on an expedition in the Hochschwab massif in Styria, Austria.
Among other Swiss air pioneers, he is commemorated in a Swiss postage stamp issued in January 1977.

GRAND COMBIN BY JEAN-FRANÇOIS ALBANIS BEAUMONT

JEAN-FRANÇOIS ALBANIS  BEAUMONT (1753-1812)  

The Grand Combin (4,314 m- 14, 154ft) 

 Switzerland

In Le glacier du Combin de Valsorey - Voyage pittoresque aux Alpes pennines, 1787, aquatint

The mountain 
The Grand Combin is a mountain massif in the western Pennine Alps in Switzerland. With its 4,314 metres (14,154 ft) highest summit, the Combin de Grafeneire, it is one of the highest peaks in the Alps and the second most prominent of its range. The Grand Combin is also a large glaciated massif consisting of several summits, among which three are above 4000 metres:
- Combin de Grafeneire (4,314 m -14,154 ft),
- Combin de Valsorey  (4,183 m -13,724 ft),
- Combin de la Tsessette  (4,134 m -13,563 ft).
The massif of the Grand Combin lies south of Verbier between the Val d'Entremont (west) and Val de Bagnes (west). The north-western facing side of Grand Combin is entirely covered by eternal snows and glaciers which are prone to serac falls. The southern and eastern walls are more steep and thus exempt of snow.
The topography of the Grand Combin is intricate. Between the Val d'Entremont and the Val de Bagnes are two high ridges, nearly parallel to each other and to those valleys, which both diverge from a short transverse ridge of great height. The southern end of the space enclosed between these three ridges is an elevated plateau of great extent, where the snows accumulate and feed the Corbassière Glacier which descends thence for about ten kilometers to the north. The glacier is surrounded by the peaks of Petit Combin, Combin de Corbassière and Combin de Boveire on the west, Grand Tavé and Tournelon Blanc on the east. Smaller glaciers lie on the external flanks such as Boveire and Mont Durand Glacier.
The Grand Combin, which yields in height to only a few European mountains, was long one of the least known of Alpine summits. The first to commence the exploration of the great massif which separates the Val de Bagnes from the Val d'Entremont was Gottlieb Samuel Studer, of Berne, who on August 14, 1851 reached for the first time the summit of the Combin de Corbassière with the guide Joseph-Benjamin Fellay, and has published an account of that and a subsequent excursion in Bergund Gletscher-Fahrten. He was followed in that ascent five years later by W. and C. E. Mathews, and in 1857, William Mathews anticipated Studer in the ascent of the second peak of the Grand Combin.
The first four expeditions on Grand Combin reached only the minor summit east of Grand Combin (Aiguille du Croissant). The first one was made by mountain guides from the valley (Maurice Fellay and Jouvence Bruchez) on July 20, 1857. The first complete ascent of Grand Combin was finally made on July 30, 1859 by Charles Sainte-Claire Deville with Daniel, Emmanuel and Gaspard Balleys, and Basile Dorsaz.
The Grand Combin de Valsorey on the west was reached for the first time on 16 September 1872 by J. H. Isler and J. Gillioz. They climbed the south south face above the Plateau du Couloir. The itinerary on the south-east ridge was opened on 10 September 1891 by O. Glynne Jones, A.Bovier and P. Gaspoz.
The "Penitents", those reliefs of ice that one see rising on the surface of the glacier of the Grand Combin, in this 1787 painting, have all disappeared at the beginning of 21th century, because of global warming...

The painter
Sir  Jean-François Albanis Beaumont, draughtsman, aquatint engraver, and landscape painter, was born in Chambery in 1753, but naturalized in England.  He studied classics in Chambéry and when he was 17 years old went to Paris. He studied 4 years at the Royal College of Engineering of Mézières and received several commissions in the Bourbonnais.
Returning in 1775 to Chambéry, he designed the decorations for the celebrations of the marriage of Clotilde de France and Prince Charles-Emmanuel. Engineer Filippo Nicolis di Robilant encouraged him to work for king Victor Amadeus III, who placed him with the chief engineer of the county of Nice, where he took part in the important works underway in Port Lympia. He was inscribed on April 30, 1780, in the class of civil architects of the University of Turin.
He accompanied the Duke of Gloucester, William Frederick of Hanover in his Grand Tour (Germany, Italy, France and Switzerland), who subsequently entrusted him with the education of his children. He then settled in Britain and married an Englishwoman of Protestant religion.
In 1787 he began to publish his first works illustrated with his own drawings "Picturesque travel to the Pennine Alps", "Historical and picturesque journey of the County of Nice", "Journey through the Rhaetian Alps in 1786", "Selected views of antiquities And ports in the south of France "and" Travel through the Maritime Alps".
In 1796, his mission was completed and he could return to Savoie and settle near Genevawhere in 1798 he bought a small agricultural estate on the commune of Thônex with which he planned to enter the  trade of wool. He does not find the success expected and must soon resell everything and resume his work as geographer and traveler.
In 1800, he published "Journey in the Alps Lepontine from France to Italy" and then "Description of the Greek and Cote Alps" (1802 and 1806).
In 1810, he died at the monastery of Sixt of which he became the owner. He had resumed the exploitation of the iron mines, but he faced too many difficulties. He is buried on the spot.
The views of the towns and landscapes he drew are very sought after and give an idea of ​​the appearance of these places at the time.

MOUNT CAMEROON IN VINTAGE POSTCARD 1889

VINTAGE POSTCARD 1889

Mount Cameroon (4, 040 m - 13,250 ft) 

Cameroon 

In Kamerun Victoria am Kamerunberg, 1889, hand painted german postcard, 

The mountain 

Mount Cameroon (4, 040 m - 13,250 ft) is an active volcano in Cameroon near the Gulf of Guinea (Africa). Mount Cameroon is also known as Cameroon Mountain or Fako (the name of the higher of its two peaks) or by its native name Mongo ma Ndemi ("Mountain of Greatness"). It is the highest point in sub-Saharan western and central Africa,  the fourth most prominent peak in Africa and the 31st most prominent in the world. It rises from the coast through tropical rainforest to a bare summit which is cold, windy, and occasionally dusted with snow. 

The mountain is part of the area of volcanic activity known as the Cameroon Volcanic Line, which also includes Lake Nyos. More than 100 small cinder cones, often fissure-controlled parallel to the long axis of the massive 1,400-cubic-kilometre (336 cu mi) volcano, occur on the flanks and surrounding lowlands. A large satellitic peak, Etinde (also known as Little Mount Cameroon), is located on the southern flank near the coast. 

Mount Cameroon has the most frequent eruptions of any West African volcano. 

The first written account of volcanic activity could be the one from the Carthaginian Hanno the Navigator, who might have observed the mountain in the 5th century BC. Moderate explosive and effusive eruptions have occurred throughout history from both summit and flank vents. A 1922 eruption on the southwestern flank produced a lava flow that reached the Atlantic coast, and a lava flow from a 1999 south-flank eruption stopped only 200 m (660 ft) from the sea, cutting the coastal highway.  The most recent eruption occurred on February 3, 2012.

English explorer Mary Kingsley, was one of the first Europeans to scale the mountain in 1897.

The peak is frequently ascended by hikers. The annual Mount Cameroon Race of Hope scales the peak in around 4½ hours. Sarah Etonge, who has won the race seven times and is also a tour operator, has become known as queen of the mountain.

- More about vintage postcards

MAYON VOLCANO IN 3 VINTAGE POSTCARDS 1890, 1899, 1928

VINTAGE POSTCARDS (1899-1928)

Mayon volcano (2,463m- 8,061ft)

Philippines (Luzon)

1. In Mayon in 1899, Private collection  

2.  In Evocation of The Mayon 1814 eruption,  hand painted postcard, circa 1880-1900, P.C.

3. In Mayon eruption, July 21, 1928, Philippines Army Archives

The mountain 

Mayon volcano (2,463 m- 8,061 ft) also called Bulkan Mayon or Bulkang Mayon or Mount Mayon or Mayon is an active stratovolcano in the province of Albay in Bicol Region, on the island of Luzon in the Philippines. Renowned as the "perfect cone" because of its symmetric conical shape, the volcano and its surrounding landscape was declared a national park on July 20, 1938, the first in the nation. It was reclassified a Natural Park and renamed Mayon Volcano Natural Park in the year 2000. Local folklore refers to the volcano being named after the legendary princess-heroine Daragang Magayon (Beautiful Lady).

Mayon volcano is the most active volcano in the Philippines, erupting over 49 times in the past 400 years. 

-  In February 1616 , the first record of a major eruption was witnessed  by Dutch explorer Joris van Spilbergen who recorded it on his log in his circumnavigation trip around the world.

- July 20, 1766.: the first eruption for which an extended account exists was the six-day event.

- February 1, 1814 (VEI=4).  The most destructive eruption of Mayon; Lava flowed but less than the 1766 eruption. The volcano belched dark ash and eventually bombarded the town of Cagsawa with tephra that buried it. (see photo 2 above)

- From July 6, 1881 until approximately August 1882, Mayon underwent a strong (VEI=3) eruption. Samuel Kneeland, a naturalist, professor and geologist, personally observed the volcanic activity on Christmas Day, 1881, about five months after the start of the activity:

« At the date of my visit, the volcano had poured out, for five months continuously, a stream of lava on the Legaspi side from the very summit. The viscid mass bubbled quietly but grandly, and overran the border of the crater, descending several hundred feet in a glowing wave, like red-hot iron. »

- Mayon's longest uninterrupted eruption occurred on June 23, 1897 (VEI=4), which lasted for seven days of raining fire. Lava once again flowed down to civilization. Eleven kilometers (7 miles) eastward, the village of Bacacay was buried 15 m (49 ft) beneath the lava. In Libon 100 people were killed by steam and falling debris or hot rocks.

- No casualties were recorded from the 1984 eruption after more than 73,000 people were evacuated from the danger zones as recommended by PHIVOLCS scientists.[12] But in 1993, pyroclastic flows killed 75 people, mainly farmers, during the eruption.

- Mayon's 48th modern-era eruption was on July 13, 2006, followed by quiet effusion of lava that started on July 14, 2006. Nearly 40,000 people were evacuated from the 8-kilometre (5.0 mi) danger zone on the southeast flank of the volcano.

- On August 10, 2008, a small summit explosion ejected ash 200 metres (660 ft) above the summit, which drifted east-northeast. In the weeks prior to the eruption, a visible glow increased within the crater and increased seismicity.

- 2009–2010 eruption several explosion and eruption from July 10, 2009 to January 13, 2010.  

- On May 7, 2013, at 8 a.m. (PST), the volcano produced a surprise phreatic eruption lasting 73 seconds. Ash, steam and rock were produced during this eruption. Ash clouds reached 500 meters above the volcano's summit and drifted west southwest. The event killed five climbers, of whom three were German, one was a Spaniard living in Germany, and one was a Filipino tour guide. Seven others were reported injured. The bodies of the hikers were soon located by the authorities.

- On August 12, 2014, a new 30m-50m high lava dome appeared in the summit crater. This event was preceded by inflations of the volcano (measured by precise leveling, tilt data, and GPS), and increases in sulphur dioxide gas emissions.

Vintage postcards
Postcards became popular at the turn of the 20th century, especially for sending short messages to friends and relatives. They were collected right from the start, and are still sought after today by collectors of pop culture, photography, advertising, wartime memorabilia, local history, and many other categories. Postcards were an international craze, published all over the world. The Detroit Publishing Co. and Teich & Co. were two of the major publishers in the U.S, and sometimes individuals printed their own postcards as well. Yvon were the most famous in France. Many individual or anonymous publishers did exist around the world and especially in Africa and  Asia (Japan, Thailand, Nepal, China, Java) between 1920 and 1955. These photographer were mostly local notables, soldiers, official guides belonging to the colonial armies (british french, belgium...) who sometimes had rather sophisticated equipment and readily produced colored photograms or explorers, navigators, climbers (Vittorio Sella and the Archiduke of Abruzzi future king of Italy remains the most famous of them).
There are many types of collectible vintage postcards.
Hold-to-light postcards were made with tissue paper surrounded by two pieces of regular paper, so light would shine through. Fold-out postcards, popular in the 1950s, had multiple postcards attached in a long strip. Real photograph postcards (RPPCs) are photographs with a postcard backing.
Novelty postcards were made using wood, aluminum, copper, and cork. Silk postcards–often embroidered over a printed image–were wrapped around cardboard and sent in see-through glassine paper envelopes; they were especially popular during World War I.
In the 1930s and 1940s, postcards were printed on brightly colored paper designed to look like linen.
Most vintage postcard collectors focus on themes, like Christmas, Halloween, portraits of movie stars, European royalty and U.S. presidents, wartime imagery, and photos of natural disasters or natural wonders. Not to mention cards featuring colorful pictures by famous artists like Alphonse Mucha, Harrison Fisher, Ellen Clapsaddle, and Frances Brundage.
- More Vintage postcards 

THE SAINTE VICTOIRE PAINTED BY ROGER FRY

ROGER FRY (1866–1934)

 Mount of Sainte-Victoire (1, 011 m - 3, 316ft)

France (Provence)

In La montagne Sainte-Victoire, huile sur toile, 1930

The mountain

Mont Sainte-Victoire our Montagne Sainte-Victoire (1,011 m-3,316ft)  also called Mont Venturi is a limestone massif in the South of France, in the region Provence-Alpes-Côte d'Azur. Located east of Aix-en-Provence, it has experienced international fame, due to the more than 80 works Paul Cézanne did on it. It hosts many hikers, climbers and nature lovers, and is a major element of Aix landscape. The range of the Sainte-Victoire is 18 kilometers long and 5 kilometers from large, following a strict east-west orientation. It is located on the Bouches-du-Rhône and Var, and in the towns of Puyloubier, Saint-Antonin-sur-Bayon, Rousset, Châteauneuf-le-Rouge, Beaurecueil, Le Tholonet Vauvenargues, Saint-Marc-Jaumegarde, Pourrières, Artigues and Rians.

D 10 and D 17 (Route Cézanne) are the main roads to skirt the mountains. On the northern side, the D10 crosses the Col de Claps (530 m) and the Col des Portes (631 m). On the southern side, the D 17 walks on the Plateau de Cengle and crossed the Collet blanc de Subéroque (505 m)...

- More about Mount of Sainte Victoire 

The Painter 
Roger Eliot Fry was an English painter and critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism. He was the first figure to raise public awareness of modern art in Britain, and emphasised the formal properties of paintings over the "associated ideas" conjured in the viewer by their representational content. He was described by the art historian Kenneth Clark as "incomparably the greatest influence on taste since Ruskin ... In so far as taste can be changed by one man, it was changed by Roger Fry". The taste Fry influenced was primarily that of the Anglophone world, and his success lay largely in alerting an educated public to a compelling version of recent artistic developments of the Parisian avant-garde.
As a painter Fry was experimental (his work included a few abstracts), but his best pictures were straightforward naturalistic portraits, although he did not pretend to be a professional portrait - painter. In his art he explored his own sensations and gradually his own personal visions and attitudes asserted themselves. His work was considered to give pleasure, 'communicating the delight of unexpected beauty and which tempers the spectator's sense to a keener consciousness of its presence'. Fry did not consider himself a great artist, 'only a serious artist with some sensibility and taste'. 

MOUNT RUSHMORE IN VINTAGE POSTCARDS 1945

VINTAGE POSTCARDS  1945

Mount Rushmore (1,745 m - 5,725 feet)

United States of America (South Dakota)

1. In Greetings from Mount Rushmore, colored postcard, 1945  

2.  In Mount Rushmore (Six Grandfathers) before it was carved, 1905 

The Mountain 
Mount Rushmore (1,745 m - 5,725 feet)  originally know by the Sioux Dakota as The Six Grandftahers is a batholith in the Black Hills in Keystone, South Dakota, United States. The mountain was renamed after Charles E. Rushmore, a prominent New York lawyer, during an expedition in 1885. The memorial is carved on the northwest margin of the Black Elk Peak granite batholith, so the geologic formations of the heart of the Black Hills region are also evident at Mount Rushmore. The batholith magma intruded into the pre-existing mica schist rocks during the Proterozoic, 1.6 billion years ago. Coarse grained pegmatite dikes are associated with the granite intrusion of Black Elk Peak and are visibly lighter in color, thus explaining the light-colored streaks on the foreheads of the presidents.
Sculptor Gutzon Borglum created the sculpture's design and oversaw the project's execution from 1927-1941 with the help of his son, Lincoln Borglum. Mount Rushmore features 60-foot (18 m) sculptures of the heads of four United States presidents: George Washington (1732–1799), Thomas Jefferson (1743–1826), Theodore Roosevelt (1858–1919), and Abraham Lincoln (1809–1865).
The United States seized the area from the Lakota tribe after the Great Sioux War of 1876. The Treaty of Fort Laramie from 1868 had previously granted the Black Hills to the Lakota in perpetuity. Members of the American Indian Movement led an occupation of the monument in 1971, naming it "Mount Crazy Horse". Among the participants were young activists, grandparents, children and Lakota holy man John Fire Lame Deer, who planted a prayer staff atop the mountain. Lame Deer said the staff formed a symbolic shroud over the presidents' faces "which shall remain dirty until the treaties concerning the Black Hills are fulfilled."
In 2004, the first Native American superintendent of the park, Gerard Baker, was appointed. Baker has stated that he will open up more "avenues of interpretation", and that the four presidents are "only one avenue and only one focus."
The Crazy Horse Memorial is being constructed elsewhere in the Black Hills to commemorate the famous Native American leader as a response to Mount Rushmore. It is said to be larger than Mount Rushmore and has the support of Lakota chiefs; the Crazy Horse Memorial Foundation has rejected offers of federal funds. However, this memorial is likewise the subject of controversy, even within the Native American community.

MORRO DO CARECA PAINTED BY ANTONIO PARREIRAS

ANTONIO PARREIRAS (1860-1937)

Morro do Careca (120 m - 390 ft)

Brazil 

 In  Ponta negra, oil on canvas, 1930, Museu Antonio Parreiras

The mountain 

Morro Do Carreca (120 m - 390 ft) It is the main symbol and a common sight on tourist postcards of the city and the state of Rio Grande do Norte,  located in the extreme south of Ponta Negra, the capital's most famous beach. In the past Morro do Careca was a spot for recreation and entertainment. The bathers and tourists would climb up the hill and come down with the help of a device called skibunda. Since the end of the 1990s, it has been closed to visitors. The reason for the closure is the dune's protection; the preservation of forest will aid in safeguarding against erosion, ensuring that the sand does not slip and thus reduce the height of the hill. At present, all activity on the dune remains suspended.

The painter 

Antonio Diogo da Silva Parreiras was a Brazilian painter, designer and illustrator.  In 1882, he enrolled at the Academia Imperial de Belas Artes in Rio de Janeiro, but left two years later to attend the free painting classes being offered by the German immigrant artist Georg Grimm.  In 1885, when Grimm left to work in the countryside, Parreiras became an autodidact. A year later, one of his works was purchased by Emperor Pedro II. This allowed him to resume his formal studies and travel to Europe in 1888, entering the Accademia di Belle Arti di Venezia where his teacher was Filippo Carcano.  Upon his return to Brazil two years later, he participated in the "Exposiaгo Gerais de Belas Artes". Later that same year, he became a Professor of landscape painting at the Escola Nacional de Belas Artes (ENBA) and, following the example set by Grimm, introduced his students to plein-air painting.  Following disagreements with ENBA over changes in the curriculum, he set up his own school called the " Escola do Ar Livre".

He was soon doing much of his work in the forests outside Teresуpolis. He also received numerous commissions to paint historical scenes and, after 1899, did decorations for the government in public buildings, such as the "Allegory of Apollo and the Goddesses of the Hours", which he created for the Palбcio da Liberdade in Belo Horizonte. His female nudes are also considered to be especially well done. From 1906 to 1919, he maintained a second studio in Paris and exhibited at the Salon.  He was also named a delegate of the Société Nationale des Beaux-Arts in 1911.

In 1925 he was chosen as Brazil's best artist by the readers of Fon-Fon, a magazine created by art critic Gonzaga Duque. The following year, he published his autobiography and was inducted into the "Academia Fluminense de Letras". Four years after his death, his former studio became the Museu Antonio Parreiras.

PUY DE SANCY IN VINTAGE POSTERS

VINTAGE POSTER  (circa 1918 - 1920)

Puy de Sancy and Mont Dore (1,886 m - 6,188 ft)

France (Auvergne)

The Mountain 

Puy de Sancy (1,886m - 6,188ft) in Auvergnat  Puèi de la Crotz,  (Mount of the Cross) is the highest mountain in the Massif Central, and the highest volcanic origin summit in France. It is part of an ancient stratovolcano which has been inactive for about 220,000 years and called Mont Dore. The northern and southern slopes are used for skiing, and a number of cablecars and skilifts ascend the mountain. Skiing has been practised on the mountain since the early 20th century. Two local priests (Jean-Baptiste Biot and his vicar) traversed, for the first time, the Puy de Sancy on skis, between 1902 and 1905. In 1936, a cable car link was built from Mont-Dore to one of the needles just below the summit. Super-Besse is another famous ski resort, located on the southwestern slope.

The valley to the north is also the source of two streams called Dore and Dogne, which unite to form the Dordogne River, which flows through the nearby spa town of Mont-Dore. The region  is frequented since Roman Antiquity to nowadays as a famous place for hydrotherapy and the town of Mont-Dore, on its northern slope, has swimming pools since the Gallic period; the Romans installed baths there as well.

Vintage Posters

This poster  typical of the design of the beginning of the 20th Century, is signed (on the left side) "Imprimerie Moderne M. De Brunhoff & Cie-Avenue de l'Observatoire, Paris". It is part of a large production of posters made to boast the merits of the hydrotherapy very up to date since the beginning of the 20th century in Europe. At that time, the Brunhoff family was illustrious in the world of French publishing and printing, specialized mainly in the art of living and fashion. Michel de Brunoff, the son of the printer who published this poster was be the editor-in-chief of Vogue from 1929 to 1954.