BEN NEVIS BY CECIL ARTHUR HUNT

CECIL ARTHUR HUNT (1873-1965)

Ben Nevis (1,344 m - 4, 118 ft)

Great Britain - Scotland




The mountain 

Ben Nevis  (1,344 m - 4, 118 ft)  in Scottish Gaelic: Beinn Nibheis is the highest mountain in the British Isles, located in Scotland, at the western end of the Grampian Mountains in the Lochaber area of the Scottish Highlands, close to the town of Fort William.

The mountain is a popular destination, attracting an estimated 100,000 ascents a year, around three-quarters of which use the Pony Track from Glen Nevis. The 700m  (2,300 ft) cliffs of the north face are among the highest in Scotland, providing classic scrambles and rock climbs of all difficulties for climbers and mountaineers. They are also the principal locations in Scotland for ice climbing.

The summit, which is the collapsed dome of an ancient volcano, features the ruins of an observatory which was continuously staffed between 1883 and 1904. The meteorological data collected during this period are still important for understanding Scottish mountain weather. C. T. R. Wilson was inspired to invent the cloud chamber after a period spent working at the observatory.

The first recorded ascent of Ben Nevis was made on 17 August 1771 by James Robertson, an Edinburgh botanist, who was in the region to collect botanical specimens. Another early ascent was in 1774 by John Williams, who provided the first account of the mountain's geological structure. John Keats climbed the mountain in 1818, comparing the ascent to "mounting ten St. Pauls without the convenience of a staircase".  The following year William MacGillivray, who was later to become a distinguished naturalist, reached the summit only to find "fragments of earthen and glass ware, chicken bones, corks, and bits of paper". 

It was not until 1847 that Ben Nevis was confirmed by the Ordnance Survey as the highest mountain in Britain and Ireland, ahead of its rival Ben Macdhui.

In 2000, the Ben Nevis Estate, comprising all of the south side of the mountain including the summit, was bought by the Scottish conservation charity the John Muir Trust.

The painter 
Cecil Arthur Hunt was educated at Winchester and Trinity College, Cambridge, studying Classics and Law, and being called to the Bar in 1899. He treated painting and writing as serious pastimes until 1925, when he was elected to the full membership of the Royal Society of Painters in Water-Colours. He then relinquished his legal career to become a professional painter.
Hunt had first exhibited in 1900, at the Alpine Club Galleries, and had held his first major show a year later, alongside E Home Bruce at the Ryder Gallery. From the first, he established himself as an atmospheric painter of mountains, especially of the Alps and Dolomites. However, he was soon accepted as a master of a great variety of topographies, for he exhibited the products of his wide travels frequently and extensively. Favourite destinations included the West Country, the West Coast of Scotland, the Rhone Valley, Northern Italy, Rome and Taormina. From 1911, until his death, Hunt lived at Mallord House in Chelsea, especially designed for him by Sir Ralph Knott to include a large studio on the ground floor. During the summer months he and his family retreated to the farm estate of Foxworthy, on the edge of Dartmoor.
Hunt showed work regularly at the Royal Academy (from 1912), the Royal Society of British Artists (from 1914) and the Royal Society of Painters in Water-Colours (from 1918). He was elected a member of the RBA in 1914, an associate of the RWS in 1919, and a full member six years later. He acted as the Vice-President of the RWS for a three-year period from 1930. His many substantial solo shows included six at the Fine Art Society (1919-34) and one at Colnaghi’s (1945). Following his death, in 1965,  he was the subject of a large memorial show at the Royal Society of Painters in Water-Colours.
Chris Beetles has done much to revive interest in the work of Cecil Arthur Hunt. He mounted a large scale retrospective exhibition in 1996 at his London gallery, on the exact site of the artist’s first substantial show in 1901. The retrospective was accompanied by a definitive catalogue.

CAYAMBE (2) BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH  (1826-1900) 

 Cayambe  (5,790 m -19,000 ft)

 Ecuador

In Cayambe volcano, The Andes of Ecuador, oil on canvas, 1848, Museum of FineArts Boston

The mountain 

Cayambe or Volcбn Cayambe (5,790 m -19,000 ft) is the name of a volcano located in the Cordillera Central, a range of the Ecuadorian Andes. It is located in Pichincha province some 70 km (43 mi) northeast of Quito. It is the third highest mountain in Ecuador.

Cayambe, which has a permanent snow cap, is a Holocene compound volcano which last erupted in March 1786. At 4,690 metres (15,387 ft) on its south slope is the highest point in the world crossed by the Equator and the only point on the Equator with snow cover. The volcano and most of its slopes are within the Cayambe Coca Ecological Reserve.  Studies conducted since 1995 by a joint team of Ecuadorian and French researchers have shown that during the last 4000, the Cayambe has experienced periods of intense eruptive activity about 700 years alternating with rest periods of 500 to 600 years. The resumption of eruptions must be considered.
Moreover, the region is home to numerous flower plantations for export; however, the non-secure management and toxic effects of these crops have caused serious damage to the environment and create health problems among employees of the plantations.

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

POINTE DUFOUR BY ADOLPHE BRAUN

 ADOLPHE BRAUN (1812-1877)

Pointe Dufour  / Dufour Spitze (4,634 m - 7,103ft) 

 Switzerland - Italy border 

1. In Le Mont Rose, 1860 

2. In  Le Mont Rose  between 1863 and 1865, Musée Condé Chantilly

The Mountain 

The  Pointe Dufour (4,634 m - 7,103ft) , in german Dufourspitze, is the highest peak of Monte Rosa, (Mont Rose) a huge ice-covered mountain massif in the Alps. Dufourspitze is the highest mountain peak of both Switzerland and the Pennine Alps and is also the second-highest mountain of the Alps and Europe outside the Caucasus. It is located between Switzerland (Canton of Valais) and Italy (Piedmont and Aosta Valley). Following a long series of attempts beginning in the early nineteenth century, Monte Rosa's summit, then still called Hцchste Spitze, was first reached on 1 August, the Swiss National celebration day, in 1855 from Zermatt by a party of eight climbers led by three guides: Matthдus and Johannes Zumtaugwald, Ulrich Lauener, Christopher and James Smyth, Charles Hudson, John Birkbeck and Edward Stephenson.
The name Pointe Dufouror Dufour Spitze  replaced the former name Höchste Spitze (English: Highest Peak) that was indicated on the Swiss maps before the Federal Council, on January 28, 1863, decided to rename the mountain in honor of Guillaume-Henri Dufour. Dufour was a Swiss engineer, topographer, co-founder of the Red Cross and army general who led the Sonderbund campaign. This decision followed the completion of the Dufour Map, a series of military topographical maps created under the command of Dufour.
The point just 80 m (260 ft) east of the Dufourspitze and only 2 metres lower, the Dunantspitze, was renamed in 2014 in honor of Henry Dunant, the main founder of the Red Cross.

The photographer

Adolphe Braun was a French photographer, best known for his floral still lifes, Parisian street scenes, and grand Alpine landscapes. One of the most influential French photographers of the 19th century, he used contemporary innovations in photographic reproduction to market his photographs worldwide. In his later years, he used photographic techniques to reproduce famous works of art, which helped advance the field of art history.
Photography historian Naomi Rosenblum described Braun's work as representative of the relationship between art and commercialism in the mid-19th century. His self-sustaining Mulhouse studio helped elevate photography from a craft to a full-scale business enterprise, producing thousands of unique images which were reproduced and marketed throughout Europe and North America.  Rosenblum also suggests that Braun's detailed reproductions of works of art in European museums brought these works to art students in North America, providing a major catalyst for the field of art history in the United States. Subsequent photographs focused on Alpine landscapes, especially lake scenes, and glacier scenes. Unlike many landscape photographers during this period, Braun liked to include people in his scenes. Photography historian Helmut Gernsheim suggested that Braun was one of the most skillful photographers of his era in rendering composition.  While not known as a portraitist, he did take portraits of several notable individuals, including Pope Pius IX, Franz Liszt, and the Countess of Castiglione, mistress of Napoleon III. Braun's work has been exhibited at the Metropolitan Museum of Art, the J. Paul Getty Museum, the George Eastman House, and the Musйe d'Orsay.
His photographs of Parisian street scenes and Alpine landscapes are frequently reproduced in works on the history of photography.

PICURIS MOUNTAINS PAINTED BY ERNEST L. BLUMENSCHEIN

ERNEST  L. BLUMENSCHEIN (1874-1960)

 Picuris Mountains (2,967 m -  9,734 feet) 

United States of America (New Mexico) 

 In Picuris Mountain (Near Taos), ca. 1940, oil on canvas, Smithsonian American Art Museum 

The mountains 
Picuris Mountains (2,967 m -  9,734 feet)  is one of the Ridge in Taos County, nearby  Osha Canyon and Vallecitos.  Named Pikuria – those who paint – by Spanish colonizer Juan de Oñate, Picuris is located 24 miles (38 km) southeast of Taos in the Sangre de Cristo Mountains via N.M. 68, 518, and 75. Picuris, once the largest, today is one of the smallest Tiwa pueblos, with some 1,801 inhabitants (Census 2000). Like Taos, it was influenced by Plains Indian culture, particularly the Apaches
If one like biking, the ride takes you into the scenic and historic part of  Picuris Mountains. About 2 miles from the start of this ride you will cross the historic Camino Real, or “Royal Highway,” that served as the original highway to Taos for traders, settlers, and Native Americans traveling north and south for several hundred years.
In late spring through fall this ride is free of snow and dry. It can be pretty beastly pushing up this mountain in the middle of summer. Plan on riding early or late in the day to avoid the heat.

The Painter 
Ernest Leonard Blumenschein  was an American artist and founding member of the Taos Society of Artists. He is noted for paintings of Native Americans, New Mexico and the American Southwest.
Ernest Blumenschein began in arts by studying violin at the Cincinnati College of Music, but after working as an illustrator for his high school newspaper, he sensed that he had found his calling. To pay for courses at the Art Students League, he played for the New York Symphony for two years, under the direction of the Czech composer Anton Dvorák  himself !  He saved enough money to move to Paris to sharpen his painting skills at the Adadémie Julian.
 Back in the United States, an assignment for McClure’s Magazine took him to Taos, New Mexico, for the first time. Charmed by the Southwest, Blumenschein eventually settled there along with other East Coast artists who had grown tired of life in the city.
As Blumenschein later recalled, “We all drifted into Taos like skilled hands looking for a good steady job . . . We lived only to paint. And that is what happens to every artist who passes this way.” (Henning, ed., Ernest L. Blumenschein Retrospective, 1978)
Ib a letter dated 1901 he wrote :  "I am wildly enthusiastic over my surroundings. Everything about me is inspiring me to work. Great mountain ranges that become as clear to one as a friend, landscapes, big and beautiful, deserts reflecting a vast sky, and you feel you are part of it all and are never alone.” in Paintings of the American Southwest, The Arvin Gottlieb Collection, brochure, National Museum of American Art, 1995
The style of painting of the Taos painters was to decisively influence the perceptions that the wider world came to have of the American Southwest, specifically of the Pueblo and Navajo Indian peoples.
During World War I, Blumenschein led a national effort to produce range-finder paintings used to help train military gunners.
Paintings by Blumenschein are held in the Eiteljorg Museum of American Indians and Western Art in Indianapolis, Indiana, the Harwood Museum of Art in Taos,  the Taos Art Museum and Fechin House,  the New Mexico Museum of Art in Santa Fe,  and the El Paso Art Museum in El Paso, Texas.

THE MONT BLANC BY ALBERT MARQUET

ALBERT MARQUET (1875–1947)

The Mont Blanc (4,808 m - 15,776 ft)

  France - Italy  border

 In Le Lac Léman, Le mont Blanc, oil on canvas 

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. 

From 1416 to 1792, the entire mountain was within the Duchy of Savoy. In 1723 the Duke of Savoy, Victor Amadeus II, acquired the Kingdom of Sardinia. The resulting state of Sardinia was to become preeminent in the Italian unification.[ In September 1792, the French revolutionary Army of the Alps under Anne-Pierre de Montesquiou-Fézensac seized Savoy without much resistance and created a department of the Mont-Blanc. In a treaty of 15 May 1796, Victor Amadeus III of Sardinia was forced to cede Savoy and Nice to France. In article 4 of this treaty it says: "The border between the Sardinian kingdom and the departments of the French Republic will be established on a line determined by the most advanced points on the Piedmont side, of the summits, peaks of mountains and other locations subsequently mentioned, as well as the intermediary peaks, knowing: starting from the point where the borders of Faucigny, the Duchy of Aoust and the Valais, to the extremity of the glaciers or Monts-Maudits: first the peaks or plateaus of the Alps, to the rising edge of the Col-Mayor". This act further states that the border should be visible from the town of Chamonix and Courmayeur. However, neither the peak of the Mont Blanc is visible from Courmayeur nor the peak of the Mont Blanc de Courmayeur is visible from Chamonix because part of the mountains lower down obscure them. A Sardinian Atlas map of 1869 showing the summit lying two thirds in Italy and one third in France.

After the Napoleonic Wars, the Congress of Vienna restored the King of Sardinia in Savoy, Nice and Piedmont, his traditional territories, overruling the 1796 Treaty of Paris. Forty-five years later, after the Second Italian War of Independence, it was replaced by a new legal act. This act was signed in Turin on 24 March 1860 by Napoleon III and Victor Emmanuel II of Savoy, and deals with the annexation of Savoy (following the French neutrality for the plebiscites held in Tuscany and Emilia-Romagna to join the Kingdom of Sardinia, against the Pope's will). A demarcation agreement, signed on 7 March 1861, defines the new border. With the formation of Italy, for the first time Mont Blanc is located on the border of France and Italy.

The 1860 act and attached maps are still legally valid for both the French and Italian governments. One of the prints from the 1823 Sarde Atlas  positions the border exactly on the summit edge of the mountain (and measures it to be 4,804 m (15,761 ft) high). The convention of 7 March 1861 recognises this through an attached map, taking into consideration the limits of the massif, and drawing the border on the icecap of Mont Blanc, making it both French and Italian.Watershed analysis of modern topographic mapping not only places the main summit on the border, but also suggests that the border should follow a line northwards from the main summit towards Mont Maudit, leaving the southeast ridge to Mont Blanc de Courmayeur wholly within Italy.

Although the Franco-Italian border was redefined in both 1947 and 1963, the commission made up of both Italians and French ignored the Mont Blanc issue. In the early 21st century, administration of the mountain is shared between the Italian town of Courmayeur and the French town of Saint-Gervais-les-Bains, although the larger part of the mountain lies within the commune of the latter.

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.
The watercolor of Pyrenees (above) is a rare example of Marquet painting mountains, which was not his favorite subject.
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".
___________________________________________
2018 - Wandering Vertexes...

by Francis Rousseau 

FUJIYAMA / 富士山 (n°2) BY HOKUSAI

KATSUSHIKA HOKUSAI (1760–1849) 

Fujiyama / 富士山 (3, 776 m -12,389 ft)

Japan

A sketch of the Mitsui shop in Suruga street in Edo, n°2 from the series 

36 Views of Mount Fuji (1830- 32),  woodblock print, ink and color on paper, 1930 edition, 

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, in different seasons and from different places.


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.



MITRE PEAK / RAHOTU BY JOHN BARR CLARK HOYTE

JOHN BARR CLARK HOYTE (1835-1913)

 Mitre Peak / Rahotu  (1,683m -  5,522 ft) 

New Zealand (South Island)

1.  In Milford sound, watercolour, 1870  

The mountain 

Mitre Peak/ Rahotu  (1,683m -  5,522 ft) is an iconic mountain in the South Island of New Zealand, located on the shore of Milford Sound. It is one of the most photographed peaks in the country. The distinctive shape of the peak in southern New Zealand gives the mountain its name, after the mitre headwear of Christian bishops. It was named by Captain John Lort Stokes of the HMS Acheron. 

Part of the reason for its iconic status is its location. Close to the shore of Milford Sound, in the Fiordland National Park in the southwestern South Island, it is a stunning sight.  The mountain rises near vertically from the water of Milford Sound, which technically is a fjord.

The peak is actually a closely grouped set of five peaks, with Mitre Peak not even the tallest one, however from most easily accessible viewpoints, Mitre Peak appears as a single point.

 Milford Sound is part of Te Wahipounamu, a World Heritage Site as declared by UNESCO.

The only road access to Milford Sound is via State Highway 94, in itself one of the most scenic roads in New Zealand.

Climbing

Mitre Peak is difficult to climb and not many people do so.  The first attempt was made in 1883, but was aborted due to bad weather. The next attempt was on 13 March 1911 by JR Dennistoun from Peel Forest. People did not believe Dennistoun, who claimed to have built a cairn on the peak to which he had fixed his handkerchief. Those facts were confirmed by the next successful climbers in 1914. There are six routes up to Mitre Peak, and most climbers start by getting a boat to Sinbad Bay.

The Painter 

John Barr Clark Hoyte was born in England, probably in London,  the son of Samuel Hoyte, a landowner. His mother's name is not known, nor are any details of his childhood. From 1856 to 1859 he was employed as a planter in Demerara, Guyana, after which he returned to England. On 1860, at Leamington, Warwickshire, he married Rose Esther Elizabeth Parsons, daughter of an iron merchant. Within three months they sailed on the Egmont for Auckland, New Zealand, where they were to live for 16 years. Three daughters were born in Auckland, and the couple may also have had a son. A brother of John Hoyte emigrated to New Zealand, possibly in the 1870s.
Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. In January 1866 he exhibited views from Whangarei, Coromandel, Auckland, Waikato, the Wellington region and Nelson, although some of these pictures were not painted from the subject. In the 1870s he travelled each summer, progressively adding the thermal region, Taranaki, Nelson, Christchurch, Arthur's Pass, Banks Peninsula and Otago to his repertoire between 1872 and 1876.
His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
The success of the art unions of his work shows that the subjects he painted were in harmony with public taste. Despite the exceptional landscapes which appear so frequently in his production – geysers, the Pink and White Terraces, fiords, mountains and lakes – it appears that his preference was for a more gentle, picturesque mode of landscape art rather than the heightened tensions of the sublime. The Otago Guardian in 1876 described 'the aspect of repose which usually characterises Mr Hoyte's illustrations of native landscapes'. A comparison of Fiordland subjects painted by Hoyte and John Gully shows that Hoyte eschewed the manipulation of the viewer's emotions which the latter exploited so regularly. Even in his pastoral subjects Gully could be relied on to introduce an epic element which Hoyte usually avoided. Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.

CHARTREUSE MASSIF PAINTED BY J.M.W.TURNER

J.M.W. TURNER (1775-1851)

Massif de la Chartreuse / Chamechaude  (2, 082m - 6, 830ft) 

France (Jura) 

 In  The Chartreuse massif and the monastery, 1802, watercolour  

The mountain 

The Chartreuse massif is a mountainous massif of the Prealps, on the border of the French departments of Isère and, to a lesser extent, Savoy. It culminates in Chamechaude (2, 082m - 6, 830ft). It consists mainly of limestones arranged in succession of anticlines and synclines forming long lines of ridges oriented from north to south. The depressions, at the bottom of which flows the Guiers and its tributaries, are separated by passes. The massif, subject to an oceanic mountain climate, has relatively high rainfall but water is absent from the surface; it flows rapidly into karstic networks carved out of limestone.

The massif has been shaped in the course of its history by the presence, since the eleventh century, of the Carthusian order which founded the monastery of the Grande Chartreuse and helped to shape the landscape by developing a breeding economy, a beginning industry and traffic routes. The opening of the massif by means of roads brings him, in the twentieth century, an economic boom: agriculture specializes and forestry develops.

During the winter season, the snow can operate small ski resorts. During the high season, the main outdoor activity is hiking; the walls also offer the possibility of climbing, while the many cavities attract speleologists. The creation of the Chartreuse Regional Nature Park has boosted tourism, enhanced cultural heritage, while preserving the environment through the management of the territory. It is completed by the national reserve of Hauts de Chartreuse to preserve biodiversity. The natural environment is divided between deciduous and coniferous forests, grasslands, cliffs and rare wetlands on the periphery of the massif, sheltering many protected species.

The painter 
The english painter Joseph Mallord William Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence in the history of painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting. He is commonly known as "the painter of light" and his work is regarded as a Romantic preface to Impressionism.
In his thirties, Turner travelled widely in Europe, starting with France and Switzerland in 1802 and studying in the Louvre in Paris in the same year. He made many visits to Venice.   Turner's talent was recognized early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterized by a chromatic palette and broadly applied atmospheric washes of paint. According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles." Turner was recognized as an artistic genius: influential English art critic John Ruskin described him as the artist who could most "stirringly and truthfully measure the moods of Nature."
Turner's major venture into printmaking was the Liber Studiorum (Book of Studies), seventy prints that he worked on from 1806 to 1819. The Liber Studiorum was an expression of his intentions for landscape art. The idea was loosely based on Claude Lorrain's Liber Veritatis (Book of Truth), where Lorrain  had recorded his completed paintings; a series of print copies of these drawings, by then at Devonshire House, had been a huge publishing success. Turner's plates were meant to be widely disseminated, and categorized the genre into six types: Marine, Mountainous, Pastoral, Historical, Architectural, and Elevated or Epic Pastoral.  His printmaking was a major part of his output, and a museum is devoted to it, the Turner Museum in Sarasota, Florida, founded in 1974 by Douglas Montrose-Graem to house his collection of Turner prints.
Turner placed human beings in many of his paintings to indicate his affection for humanity on the one hand (note the frequent scenes of people drinking or working or walking in the foreground), but its vulnerability and vulgarity amid the 'sublime' nature of the world on the other. 'Sublime' here means awe-inspiring, savage grandeur, a natural world unmastered by man, evidence of the power of God – a theme that romanticist artists and poets were exploring in this period. Although these late paintings appear to be 'impressionistic' and therefore a forerunner of the French school, Turner was striving for expression of spirituality in the world, rather than responding primarily to optical phenomena.
Turner used pigments like carmine in his paintings, knowing that they were not long-lasting, despite the advice of contemporary experts to use more durable pigments. As a result, many of his colours have now faded greatly.
John Ruskin says in his "Notes" on Turner in March 1878 : "His true master was Dr Monro; to the practical teaching of that first patron and the wise simplicity of method of watercolour study, in which he was disciplined by him and companioned by Girtin, the healthy and constant development of the greater power is primarily to be attributed; the greatness of the power itself, it is impossible to over-estimate. "

MOUNT PILATUS / TOMLISHORN IN VINTAGE POSTCARD 1890

VINTAGE POSTCARD 1890

 Mount Pilatus or Tomlishorn (2,128 m - 6,982 ft)

Switzerland

 In La gare de Lucerne et le Mont Pilatus au clair de lune, La Suisse en Couleur,  1890, 
 Photochrom color print, The Library of Congress, Wahington D.C.

The mountain 

Mount Pilatus overlooking Lucerne in central Switzerland. It is composed of several summits of which the highest is named Tomlishorn.(2,128 m - 6,982 ft).  Another summit named Esel (2,119 m) lies just over the railway station. Jurisdiction over the massif is divided between the cantons of Obwalden, Nidwalden, and Lucerne. The main peaks are right on the border between Obwalden and Nidwalden.

A few different local legends about the origin of the name exist. One claims that Mount Pilatus was named so because Pontius Pilate was buried there; a similar legend is told of Monte Vettore in Italy. Another is that the mountain looks like the belly of a large man, Pilate, lying on his back and was thus named for him. The name may also be derived from "pileatus," meaning "cloud-topped."

A medieval legend had dragons with healing powers living on the mountain. A chronicle from 1619 reads: 'as I was contemplating the serene sky by night, I saw a very bright dragon with flapping wings go from a cave in a great rock in the mount called Pilatus toward another cave, known as Flue, on the opposite side of the lake'. 

Nowadays, dragon has been replaced by fortified radar (part of the Swiss FLORAKO system) and weather stations on the Oberhaupt summit, not open to the public view and used all year round.

The top can be reached with the Pilatus railway, the world's steepest cogwheel railway, from Alpnachstad, operating from May to November (depending on snow conditions), and the whole year with the aerial panorama gondolas and aerial cableways from Kriens. Both summits of Tomlishorn and Esel can be reached with a trail. Mount Pilatus has the longest summer toboggan track in Switzerland (0.88 miles or 1,350 m) and the biggest suspension rope park in Central Switzerland.

During the summer, the "Golden Round Trip" — a popular route for tourists — involves taking a boat from Lucerne across Lake Lucerne to Alpnachstad, going up on the cogwheel railway, coming down on the aerial cableways and panorama gondolas, and taking a bus back to Lucerne.

Numbered amongst those who have reached its summit are Conrad Gessner, Theodore Roosevelt, Arthur Schopenhauer (1804), Queen Victoria and Julia Ward Howe (1867).

The photos 
The Library of Congress' Photochrom prints collection contains almost 6,000 views of Europe and the Middle East and 500 views of North America. Published primarily from the 1890s to 1910s, these prints were created by the Photoglob Company in Zürich, Switzerland, and the Detroit Publishing Company in Michigan. The richly colored images look like photographs but are actually ink-based photolithographs, usually 6.5 x 9 inches.
Like postcards, the photochroms feature subjects that appeal to travelers, including landscapes, architecture, street scenes, and daily life and culture. The prints were sold as souvenirs and often collected in albums or framed for display.
The Library of Congress Prints and Photographs Division assembled this collection from two sources that provided prints in mint condition. In 1985, the prints of Europe and the Middle East were purchased from the Galerie Muriset in Switzerland. In 2004, Howard L. Gottlieb generously donated the North American views. Additional photochroms can be found in the collections listed in the Related Resources section.

TIZI N'TICHKKA (2) BY JACQUES MAJORELLE

JACQUES MAJORELLE (1886- 1962)

                                                         Tizi n'Tichka  (2,260m - 7,415ft) 

Morocco

In Kasbah et Atlas, gouache sur papier, Private collection 

The mountain pass

Tizi n'Tichka (2,260m - 7,415ft)  is a mountain pass in Morocco, linking the south-east of Marrakesh-Safi to the city of Ouarzazate through the High Atlas mountains and visible from Ounila valley.  It lies above the great Marrakech Plains and is a gateway to the Sahara Desert. From November through March, snow can often fall on the pass, but it can be warm all year round in the strong sun.  It  is the highest major mountain pass in North Africa. The road was constructed along the old caravan trail by the French military in 1936, and is now part of National Route 9 (formerly Route P-31). 

The last, known Barbary lion in the wilderness of North Africa was shot near Tizi n'Tichka pass in 1942. Genetically speaking, however, the Barbary lion appears to live on in the Senegal lion of Western and Central Africa.

The painter 

Jacques Majorelle son of the celebrated Art Nouveau furniture designer Louis Majorelle, was a French painter. He studied at the École des Beaux-Arts in Nancy in 1901 and later at the Académie Julian in Paris with Schommer and Royer. Majorelle became a noted Orientalist painter, but is most remembered for constructing the villa and gardens that now carry his name, Les Jardins Majorelle in Marrakech.
In around 1917 he travelled to Morocco to recover from heart problems and after short period spent in Casablanca, he visited Marrakech, where he fell in love with the vibrant colours and quality of light he found there. Initially, he used Marrakech as a base for trips to Spain, Italy and other parts of North Africa, including Egypt. Eventually, however, he settled in Marrakech permanently.
He drew inspiration for his paintings from his trips and from Marrakesch itself. His paintings include many street scenes, souks and kasbahs as well as portraits of local inhabitants. He opened a handicrafts workshop in Marrakech and also designed posters to promote travel to Morocco.  His work was profoundly affected by his voyages around the Mediterannean and North Africa. He introduced a more coloured vision, bathed in light where the drawing disappears and the image emerges from large spots of colour laid flat. It seemed as if he had discoved the sun in these countries. His style exhibited more freedom and spontaneity.
In 1919, he married Andrée Longueville and the pair lived in an apartment near the Jemâa el-Fna Square (then at the palace of Pasha Ben Daoud). In 1923, Jacques Majorelle bought a four acre plot, situated on the border of a palm grove in Marrakech and in 1931, he commissioned the architect, Paul Sinoir, to design a Cubist villa for him. He gradually purchased additional land, extending his holding by almost 10 acres. In the grounds around the residence, Majorelle began planting a luxuriant garden which would become known as the Jardins Majorelle or Majorelle Garden. He continued to work on the garden for almost forty years. The garden is often said to be the his finest work.  Majorelle developed a special shade of the colour blue, which was inspired by the blue tiles prevalent in southern Morocco. This colour was used extensively in Majorelle's house and garden, and now carries his name; Majorelle Blue.
The garden proved costly to run and in 1947, Majorelle opened the garden to the public with an admission fee designed to defray the cost of maintenance.  He sold the house and land in the 1950s, after which it fell into disrepair.
Majorelle was sent to France for medical treatment in 1962 following a car accident, and died in Paris, later that year of complications from his injuries. He is buried in Nancy, the place of his birth.
During his lifetime, many of Majorelle's paintings were sold to private buyers and remain in private collections. Some of his early works can be found in Museums around his birthplace such as the Musée de l'Ecole de Nancy. Examples of his later work can be seen in the Mamounia Hotel, Marrakesch, the French Consulate of Marrakech and in the Villa at the Majorelle Gardens. 

MOUNT BREWER BY ALBERT BIERSTADT

ALBERT BIERSTADT (1830-1902)

Mount Brewer  (4,138 m - 13,576 ft)

United States of America (California) 

 In Mount Brewer from King's River Canyon, 1872, oil on canvas, Private Collection Texas

The mountain 

Mount Brewer  (4,138 m - 13,576 ft) is on the Great Western Divide, a sub-range of the Sierra Nevada in California. It is located in Kings Canyon National Park. The peak was named for William Henry Brewer who worked on the first California Geological Survey and was the first Chair of Agriculture at Yale University's Sheffield Scientific School. He was chief of the field party that explored the central High Sierra in 1864.

The painter 

Albert Bierstadt was a German-born American painter.  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.

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. 

Bierstadt was a prolific artist, having completed over 500 paintings during his lifetime. Many of these are held by museums across the United States.

TENAYA PEAK BY CHIURA OBATA

CHIURA OBATA  (1885–1975)

Tenaya Peak (3,141m - 10, 306ft) 

Unites States of America (California)  

In  Death’s Grave Pass and Tenaya Peak in the background, High Sierra, 1930, Color woodcut 

About this painting 
Obata did at least two paintings mentioning Death's Grave Pass which appears to be somewhere northeast of Pywiack Dome, northwest of DAFF Dome. It is on no map. We have used Obata's descriptions of paintings to locate other sites where he obviously painted from.

The mountain 
Tenaya Peak (3,141m - 10, 306ft)  is a mountain in the Yosemite high country, rising above Tenaya Lake. Tenaya Peak is named after Chief Tenaya, who met the Mariposa Battalion near the shores of the Tenaya lake. The Mariposa Battalion under Captain John Boling expelled Chief Tenaya and his people from what was to become Yosemite National Park.

The artist 
Chiura Obata (小圃 千浦 ) was a well-known Japanese-American artist and popular art teacher. A self-described "roughneck", Obata went to the United States in 1903, at age 17. After initially working as an illustrator and commercial decorator, he had a successful career as a painter, following a 1927 summer spent in the Sierra Nevada, and was a faculty member in the Art Department at the University of California, Berkeley, from 1932 to 1954, interrupted by World War II, when he spent over a year in internment camps.
After his retirement, he continued to paint and to lead group tours to Japan to see gardens and art.
Posthumous exhibitions of Obata's works have been organized at the Oakland Museum, The Smithsonian Institution, and, in 2000, at the M. H. de Young Memorial Museum in San Francisco, a retrospective of 100 ink and brush paintings, large scrolls and color woodblock prints. In 2007 there was an exhibit in Yosemite National Park. The museum collection at Yosemite National Park contains several Obata prints of the park (see above). The Smithsonian American Art Museum organized an exhibition of Obata's Yosemite woodblock prints, which was shown at the American Art Museum in Washington, DC in early 2008 and then traveled to the Wichita Falls Museum, Wichita, TX (2008) and Federal Hall National Memorial, National Park Service, in New York, NY (2009).

THE MONT BLANC BY ALEXANDRE PERRIER

ALEXANDRE PERRIER (1862-1936) 

The Mont Blanc (4,808 m - 15,776 ft)

France - Italy  border 

 In  Mont Blanc mit Wolken, 1894, oil on canvas 

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. 

From 1416 to 1792, the entire mountain was within the Duchy of Savoy. In 1723 the Duke of Savoy, Victor Amadeus II, acquired the Kingdom of Sardinia. The resulting state of Sardinia was to become preeminent in the Italian unification.[ In September 1792, the French revolutionary Army of the Alps under Anne-Pierre de Montesquiou-Fézensac seized Savoy without much resistance and created a department of the Mont-Blanc. In a treaty of 15 May 1796, Victor Amadeus III of Sardinia was forced to cede Savoy and Nice to France. In article 4 of this treaty it says: "The border between the Sardinian kingdom and the departments of the French Republic will be established on a line determined by the most advanced points on the Piedmont side, of the summits, peaks of mountains and other locations subsequently mentioned, as well as the intermediary peaks, knowing: starting from the point where the borders of Faucigny, the Duchy of Aoust and the Valais, to the extremity of the glaciers or Monts-Maudits: first the peaks or plateaus of the Alps, to the rising edge of the Col-Mayor". This act further states that the border should be visible from the town of Chamonix and Courmayeur. However, neither the peak of the Mont Blanc is visible from Courmayeur nor the peak of the Mont Blanc de Courmayeur is visible from Chamonix because part of the mountains lower down obscure them. A Sardinian Atlas map of 1869 showing the summit lying two thirds in Italy and one third in France.

After the Napoleonic Wars, the Congress of Vienna restored the King of Sardinia in Savoy, Nice and Piedmont, his traditional territories, overruling the 1796 Treaty of Paris. Forty-five years later, after the Second Italian War of Independence, it was replaced by a new legal act. This act was signed in Turin on 24 March 1860 by Napoleon III and Victor Emmanuel II of Savoy, and deals with the annexation of Savoy (following the French neutrality for the plebiscites held in Tuscany and Emilia-Romagna to join the Kingdom of Sardinia, against the Pope's will). A demarcation agreement, signed on 7 March 1861, defines the new border. With the formation of Italy, for the first time Mont Blanc is located on the border of France and Italy.

The 1860 act and attached maps are still legally valid for both the French and Italian governments. One of the prints from the 1823 Sarde Atlas  positions the border exactly on the summit edge of the mountain (and measures it to be 4,804 m (15,761 ft) high). The convention of 7 March 1861 recognises this through an attached map, taking into consideration the limits of the massif, and drawing the border on the icecap of Mont Blanc, making it both French and Italian.Watershed analysis of modern topographic mapping not only places the main summit on the border, but also suggests that the border should follow a line northwards from the main summit towards Mont Maudit, leaving the southeast ridge to Mont Blanc de Courmayeur wholly within Italy.

Although the Franco-Italian border was redefined in both 1947 and 1963, the commission made up of both Italians and French ignored the Mont Blanc issue. In the early 21st century, administration of the mountain is shared between the Italian town of Courmayeur and the French town of Saint-Gervais-les-Bains, although the larger part of the mountain lies within the commune of the latter.

The painter 

Alexandre Perrier  is one of the most prominent Swiss artists of the turn of the century, but he is perhaps the one whose work remains today the least studied. He counted among his friends and acquaintances Cuno Amiet, Albert Trachsel and Ferdinand Hodler and exhibited at the side of the latter at the Secession of Vienna in 1901, as well as at the Exposition Universelle in Paris the previous year. A landscape painter by vocation, he devoted his whole life to the pictorial transposition of a limited choice of sites, such as  Mont Salève, Lake Geneva, The Mont-Blanc and The Grammont, whose light and atmosphere he sought to bring back. Influenced by Neo-Impressionist tendencies, he uses a technique decomposing his touch into small dots and lines, situating it stylistically between pointillism and divisionism. In the second part of his career his style evolved towards a freer painting, dissociating color and drawing, an artistic approach that confirms its originality and its modernity.

At his debut, he worked for a short period in a bank before going to Mulhouse in 1881, for training as a signatory of textile printing. In 1891, he moved to Paris where he worked as a fashion illustrator; He discovered new artistic movements such as neo-impressionism, symbolism and Art Nouveau. Shortly before the turn of the century, he returned to Geneva, where he remained until his death. He received a bronze medal at the Universal Exhibition of Paris in 1900. In 1902, he exhibited at the Secession of Vienna.

THE JAIZKIBEL BY ALBERT MARQUET

ALBERT MARQUET (1875–1947)

 The Jaizkibel (547m -1, 795ft) 

Spain / France border

1.  In  Fontarabie vue d'Hendaye, oil on canvas, 1899

2.   In Vue d'Hendaye, watercolour, 1900 

The mountain 

The Jaizkibel is mountain range of the Basque Country located east of Pasaia, north of Lezo and west of Hondarribia, in Spain, with 547 m at the highest point (peak Alleru). The range stretches south-west to north-east, where it plunges into the sea at the Cape Higuer (spelled Higher too). To the north-west, the mountain dips its slopes in the sea with beautiful cliffs all along, overlooking on the east the marshes of Txingudi, the river Bidasoa and its mouth (tracing the state borderline between France and Spain) as well as the towns of Irun, Hendaia (Hendaye in french) and Hondarribia on the river banks. The nearest relevant mountains are La Rhune, Aiako Harria and Ulia closing the view east to west from the south. Some people consider Jaizkibel to be the first westernmost mountain of the Pyrenees.
The area is a relevant landmark on the grounds of its strategic position close to the border with France, with the range standing as the easternmost Spanish rise by the seaside and affording an unmatched view miles away, both over the sea and inland. As a result, the military has always showed an interest in the place since the 16th century when the Spanish-French border started to be drafted, taking to building defence facilities, such as the towers dotting the ridge (dating from the Carlist Wars) or the Fortress of Guadalupe going back to 1890, nowadays out of use. The northern slopes have borne witness to frequent military manoeuvres from the decade of the 50s through the early 90s, when the road to the booster station was sometimes cut off to avoid disruption and damage.

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".

CRISTO MOUNTAINS BY GEORGIA O'KEEFFE

GEORGIA O' KEEFFE (1887–1986)

Cristo mountains (4,374m-14, 351ft)

United States of America (Colorado and New Mexico) 

In Rust red hills, Cristo Mountains in Taos County New Mexico, 1930, oil on canvas

The mountains
Cristo mountains  (culminating at Bianca Peak 4,374m-14, 351ft ), origanally The Sangre de Cristo Mountains (Spanish for "Blood of Christ")  are the southernmost subrange of the Rocky Mountains. They are located in southern Colorado and northern New Mexico in the United States. The mountains run from Poncha Pass in South-Central Colorado, trending southeast and south, ending at Glorieta Pass, southeast of Santa Fe, New Mexico. The mountains contain a number of fourteen thousand foot peaks in the Colorado portion, as well as all the peaks in New Mexico which are over thirteen thousand feet.
The name of the mountains may refer to the occasional reddish hues observed during sunrise and sunset, and when alpenglow occurs, especially when the mountains are covered with snow. Although the particular origin of the name is unclear, it has been in use since the early 19th century. Before that time the terms "La Sierra Nevada", "La Sierra Madre", "La Sierra", and "The Snowies" (used by English speakers) were used. According to tradition, "sangre de Cristo" were the last words of a Catholic priest who was killed by Indians.

The painter 

Georgia O’Keeffe is one of the most significant and intriguing artists of the twentieth century, known internationally for her boldly innovative art. Her distinct flowers, dramatic cityscapes, glowing landscapes, and images of bones against the stark desert sky are iconic and original contributions to American Modernism.
Born on November 15, 1887, the second of seven children, Georgia Totto O’Keeffe grew up on a farm near Sun Prairie, Wisconsin. She studied at the Art Institute of Chicago in 1905-1906 and the Art Students League in New York in 1907-1908. Under the direction of William Merritt Chase, F. Luis Mora, and Kenyon Cox she learned the techniques of traditional realist painting. The direction of her artistic practice shifted dramatically in 1912 when she studied the revolutionary ideas of Arthur Wesley Dow. Dow’s emphasis on composition and design offered O’Keeffe an alternative to realism. She experimented for two years, while she taught art in South Carolina and west Texas. Seeking to find a personal visual language through which she could express her feelings and ideas, she began a series of abstract charcoal drawings in 1915 that represented a radical break with tradition and made O’Keeffe one of the very first American artists to practice pure abstraction.
O’Keeffe mailed some of these highly abstract drawings to a friend in New York City, who showed them to Alfred Stieglitz. An art dealer and internationally known photographer, he was the first to exhibit her work in 1916. He would eventually become O’Keeffe’s husband.
In the summer of 1929, O’Keeffe made the first of many trips to northern New Mexico. The stark landscape, distinct indigenous art, and unique regional style of adobe architecture inspired a new direction in O’Keeffe’s artwork. For the next two decades she spent part of most years living and working in New Mexico . She made the state her permanent home in 1949, three years after Stieglitz’s death. O’Keeffe’s New Mexico paintings coincided with a growing interest in regional scenes by American Modernists seeking a distinctive view of America. Her simplified and refined representations of this region express a deep personal response to the high desert terrain.
In the 1950s, O’Keeffe began to travel internationally. She created paintings that evoked a sense of the spectacular places she visited, including the mountain peaks of Peru and Japan’s Mount Fuji. At the age of seventy-three she embarked on a new series focused on the clouds in the sky and the rivers below.
Suffering from macular degeneration and discouraged by her failing eyesight, O’Keeffe painted her last unassisted oil painting in 1972. But O’Keeffe’s will to create did not diminish with her eyesight. In 1977, at age ninety, she observed, “I can see what I want to paint. The thing that makes you want to create is still there.”
Late in life, and almost blind, she enlisted the help of several assistants to enable her to again create art.  In these works she returned to favorite visual motifs from her memory and vivid imagination.
Georgia O’Keeffe died in Santa Fe, on March 6, 1986, at the age of 98.

JEBEL CHELIA PAINTED BY CONSTANT LOUCHE

CONSTANT LOUCHE (1880-1965) 

Jebel Chelia (2,328 m - 7,638 ft) 

Algeria 

The mountain 

Jebel Chelia (2,328 m - 7,638 ft) , Arabic: جبل شيليا‎, is a mountain in Algeria. It is the highest point in the Aurès Range which straddle the border between Algeria and Tunisia, and it is the second highest peak in Algeria after Mount Tahat. Jebel Chelia  Chélia is situated in the west of Khenchela, in Bouhmama county.

The painter 

Constant Louche was born  in Algiers where he received a scholarship from his hometown, to go to the Beaux-Arts in Paris. Although he paints nudes and portraits, he is especially appreciated by collectors of the time for his landscapes of Algeria  of which he is one of the best representatives with his warm colors. These paintings were presented in the salons and galleries of Algiers, and in Morocco, Corsica and Nice, but also in his studio. He began to exhibit in Algiers from 1907.
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2019 - Wandering Vertexes...
by Francis Rousseau 

ELEPHANT ROCK BY EUGENE VON GUERARD

EUGENE VON GUERARD  (1811-1901)

Elephant rock (400 m - 1,312 ft)  

New Zealand

The rock formation 

 Many formation are called Elephant Rock around the world  among which two New Zealand. The one painted by Eugene Guerard  was located near the Three Sisters in Tongaporutu, which is about an hour's drive north from New Plymouth.  Recently, part of this iconic rock formation  in the shape of an elephant   has collapsed, with the elephant's 'trunk' completely wiped out. The rockfall may have been linked to a magnitude 7.8 Kaikōura earthquake which was also felt in the Taranaki region. So this painting is the only image leaving of what was that rock formation and unfortunately  Guerard didn't choose to show the " trunk"  side !

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, check the link in the name list of painters....