RINGROSE PEAK BY ROCKWELL KENT

ROCKWELL KENT  (1882 – 1971) 

Ringrose Peak  (3,292 m - 10,801 ft) 
Canada (Alberta- British Columbia)

In Canadian rockies, oil on canvas 

The mountain 

Ringrose Peak  (3,292 m - 10,801 ft)  is a mountain on the Alberta- British Columbia border, in Canada. It is located on the Continental Divide on the border of Banff and Yoho National Parks and is part of the Bow Range of the Banff-Lake Louise Core Area in the Canadian Rockies.

The peak was named in 1894 after A.E.L. Ringrose by Samuel Allen, because previously Allen had met Ringrose, while Allen was visiting the Rockies. Ringrose was visiting from London, England.

The painter

Rockwell Kent, artist, author, and political activist, had a long  and varied career. During his lifetime, he worked as an architectural draftsman, illustrator, printmaker, painter, lobsterman, ship's carpenter, and dairy farmer. Born in Tarrytown Heights, New York, he lived in Maine, Newfoundland, Alaska, Greenland, and the Adirondacks and explored the waters around Tierra del Fuego in a small boat. Kent's paintings, lithographs, and woodcuts often portrayed the bleak and rugged aspects of nature; a reflection of his life in harsh climates.His experience as a carpenter and builder and his familiarity with tools served him well when he took up the graphic process. His blocks were marvels of beautiful cutting, every line deliberate and under perfect control. The tones and lines in his lithography were solidly built up, subtle, and full of color. He usually made preliminary studies- old-mater style- for composition or detail before starting on a print. Nothing was vague or accidental about his work; his expression was clear and deliberate. Neither misty tonalities nor suggestiveness were to his taste. He was a highly objectified art - clean, athletic, sometimes almost austere and cold. He either recorded adventures concretely, or dealt in ideas. His studio was a model of the efficient workshop: neat, orderly, with everything in its place. His handwriting, the fruit of his architectural training, was beautiful and precise.
When Kent died of a heart attack in 1971, The New York Times described him as "... a thoughtful, troublesome, profoundly independent, odd and kind man who made an imperishable contribution to the art of bookmaking in the United States."  Richer, more accurate accounts of the scope of the artist's influential career as a painter and writer have since superseded this cursory summing-up of an American life. Retrospectives of the artist's paintings and drawings have been mounted, most recently by The Rooms in St. John's, Newfoundland, where the exhibition Pointed North: Rockwell Kent in Newfoundland and Labrador was curated by Caroline Stone in the summer of 2014. Other recent exhibitions include the Richard F. Brush Art Gallery and Owen D. Young Library at St. Lawrence University (Canton, New York) in the autumn of 2012; the Farnsworth Art Museum (Rockland, Maine) during the spring through autumn of 2012; the Bennington Museum in Vermont during the summer of 2012; and the Philadelphia Museum of Art in the spring through summer of 2012. An exhibition marking the centennial of Kent's time in Winona, Minnesota, took place there in 2013. Among the many notes of increasing awareness of Kent's contributions to American culture is the reproduction of one of Kent's pen-and-ink drawings from Moby Dick on a U.S. postage stamp, part of the 2001 commemorative panel celebrating such American illustrators as Maxfield Parrish, Frederic Remington, and Norman Rockwell.

GUNUNG, SEMERU, BROMO AND BATUR BY ENVER LARNEY

ENVER LARNEY (bn. 1955)    

Gunung Semeru (3, 676m - 12, 060ft) 

 Gunung Bromo (2,329m - 7,641ft)

Gunung Batur (1,717 m - 5,633ft) 

Indonesia (Java) 

 In Gunung Semeru, Bromo and Batok Jawa Timor Indonesia,  2008

The volcanoes

Gunung Bromo (2,329m - 7,641ft) or Gunung Brama, an active volcano, in East Java, Indonesia,  is not the highest peak of the Tengger massif, but the best known. The massif area is one of the most visited tourist attractions in East Java, Indonesia. The volcano belongs to the Bromo Tengger Semeru National Park. The name of Bromo derived from Javanese pronunciation of Brahma, the Hindu creator god. Gunung Bromo sits in the middle of a plain called the "Sea of Sand"  a protected nature reserve since 1919. The best way to visit Gunung Bromo is from the nearby mountain village of Cemoro Lawang, from where it is possible to walk during 45 mn to the volcano. It is also possible to take an organised jeep tour, which includes a stop at the viewpoint on Gunung Penanjakan (2,770 m - 9,088 ft). Mount Bromo recently erupted in 2004, 2010, 2011 and 2015.

Gunung Semeru  (3, 676m - 12, 060ft)  or Gunung Mahameru indonesian is an active volcano located in East Java, Indonesia. It is the highest mountain on the island of Java. This stratovolcano is also known as Mahameru, meaning 'The Great Mountain. The name derived from the Hindu-Buddhist mythical mountain of Meru or Sumeru, the abode of gods.  Semeru is named from Sumeru, the central world-mountain in Buddhist cosmology and by extension Hinduism. As stated in legend, it was transplanted from India; the tale is recorded in the 15th-century East Javanese work Tantu Pagelaran.  Since 1818, at least 55 eruptions have been recorded (10 of which resulted in fatalities) consisting of both lava flows and pyroclastic flows. All historical eruptions have had a VEI of 2 or 3. Semeru has been in a state of near-constant eruption from 1967 to the present. At times, small eruptions happen every 20 minutes or so.

Gunung Batur (1,717 m - 5, 633ft) is an Indonesian volcano located in the north of the island of Bali. This volcano consists of a vast caldera whose rim culminates at Mount Abang. The interior of the depression, whose bottom is occupied on the south-east by Lake Batur, has several volcanic cones, including Mount Batur itself. The first historically dated eruption dates back to 18041; since then, 24 others have occurred, including the last from March 15, 1999 to June 2000.

The painter 

Enver Larney was born in the fifties  in Cape Town, South Africa. For many decades now, he has captured scenes around the world in oils on canvas. An impressionist in the traditional manner, Larney's medium format works are achieved in one sitting and in the open. Since 1972, his works appear in many collections and Institutions such as, the Chase Manhattan Bank New York USA and the Musée de l'Affiche in Paris, as well as countless private collections worldwide....

MITREPEAK/ 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, series of watercolours  Milford Sounbdof, 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.

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.

THE WATZMANN BY FREDERIK SØDRING (1809–1862)

FREDERIK SØDRING (1809- 1862)
The Watzmann (2,713m - 8,901ft)
Germany (Bavarian Alps)


In Berchtesgaden mit dem Watzmann Öl auf Leinwand,1830, oil on canvas, Private collection

The mountain
The Watzmann (2,713m - 8,901ft) is a mountain in the Bavarian Alps south of the village of Berchtesgaden. It is the third highest in Germany, and the highest located entirely on German territory. Three main peaks array on a N-S axis along a ridge on the mountain's taller western half: Hocheck (2,651 m), Mittelspitze (Middle Peak, 2,713 m) and Sьdspitze (South Peak, 2,712 m).
The Watzmann massif also includes the 2,307 m Watzmannfrau (Watzmann Wife, also known as Kleiner Watzmann or Small Watzmann), and the Watzmannkinder (Watzmann Children), five lower peaks in the recess between the main peaks and the Watzmannfrau.
The entire massif lies inside Berchtesgaden National Park.
The Watzmann Glacier is located below the famous east face of the Watzmann in the Watzmann cirque and is surrounded by the Watzmanngrat arête, the Watzmannkindern and the Kleiner Watzmann. The size of the glacier reduced from around 30 hectares (74 acres) in 1820 until it split into a few fields of firn, but between 1965 and 1980 it advanced significantly again and now has an area of 10.1 hectares (25 acres). Above and to the west of the icefield lie the remains of a transport-bomber that crashed in October 1940.
Amongst the other permanent snow and icefields the Eiskapelle ("Ice Chapel") is the best known due to its easy accessibility from St. Bartholomä. The Eiskapelle may well be the lowest lying permanent snowfield in the Alps. Its lower end is only 930 metres high in the upper Eisbach valley and is about an hour's walk from St. Bartholomä on the Königssee. The Eiskapelle is fed by mighty avalanches that slide down from the east face of the Watzmann in spring and accumulate in the angle of the rock face. Sometimes a gate-shaped vault forms in the ice at the point where the Eisbach emerges from the Eiskapelle. Before entering there is an urgent warning sign that others have been killed by falling ice. In the east face itself is another icefield in the so-called Schöllhorn cirque, called the Schöllhorneis, which is crossed by the Kederbach Way (Kederbacher-Weg). The cirque and icefield are named after the Munich citizen, Christian Schöllhorn, who was the first victim on the east face. On 26 May 1890 he fell at the upper end of the icefield into the randkluft and was fatally injured. Another small nameless snowfield is located several hundred metres below the Mittelspitze also in the east face.

The artist
Frederik Hansen Sødring was a Danish landscape painter and founder of an endowment. Sødring spent some time living in Norway with his parents before studying at the Royal Danish Academy of Fine Arts in Copenhagen beginning in 1825. There he initially studied under Jens Peter Moller, but his greatest influence was from Johan Christian Dahl. In Sodring's first exhibition, he displayed two paintings. Between 1829 and 1831 Sodring travelled to Norway and Germany, taking time to study in Munich. He continued to work, sending several paintings back to Denmark. These travels influenced Sшdring's later works. Upon his return, he continued to paint, exhibiting landscapes from the Rhine, Southern Germany, and Tyrol. In 1832, he was painted by Christen Kobke; the portrait is now part of the Hirschsprung Collection. He established a scholarship, to be awarded at the annual Charlottenborg Exhibition, and provided funds to support elderly landscape artists and widows of such painters.


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2018 - Wandering Vertexes
A blog by Francis Rousseau

 

THE SCHILTHORN PAINTED BY CHARLES GIRON

CHARLES GIRON (1850–1914)

The Schilthorn  (2,970 m - 9,744 ft) 

Switzerland

In Le nuvole Valle di Lauterbrunnen, 1901, oil on canvas,  Musée Jenish, Vevey

The mountain
The Schilthorn  (2,970 m- 9,744 ft) is a peak in the Bernese Alps in Switzerland, near the alpine village of Mürren. Access to the village of Mürren and the summit of Schilthorn is impossible by road. To get there from the valley, take a series of cable cars, the first part of Stechelberg to join Gimmelwald, then Mürren. From Mürren a second cable car leads to Birg, from where a third joins the Schilthorn1. Another way to reach Mürren is to take the cable car from Lauterbrunnen to Grütschalp, then the train to Mürren.


The painter 
Charles Alexandre Giron is a painter and critic of Swiss art who took lessons with François Diday and Barthélemy Menn in Geneva. In 1872, he went to Paris and frequented the Swiss painters installed in the boarding house of the Hotel de Nice, No. 4 rue des Beaux-Arts before sharing until 1890 the successive workshops of the French painter Michel Maximilian Leenhardt. He thus becomes friends with Gustave Henri de Beaumont and Albert Bartholomew. He enters the studio of Alexandre Cabanel at the Ecole des Beaux-Arts in Paris and officially begins at the Salon of 1876 with portraits and landscapes. As an art critic, he defends the painter Ferdinand Hodler. He worked in Paris and Cannes, then joined Switzerland in 1896. The city of Geneva gave its name to a street and a school.

PAVONIS MONS BY NASA MARS GLOBAL SURVEYOR

 NASA MARS GLOBAL SURVEYOR  (1996-2007), 

Pavonis Mons (14,000m / 14km - 46,000ft / 8,7 mi) 

MARS

The mountain 

Pavonis Mons (14,000m / 14km - 46,000ft / 8,7 mi)  latin for "peacock mountain" is a large shield volcano located in the Tharsis region of the planet Mars. It is the middle member of a chain of three volcanic mountains (collectively known as the Tharsis Montes) that straddle the Martian equator between longitudes 235°E and 259°E. The volcano was discovered by the Mariner 9 spacecraft in 1971 and was originally called Middle Spot. Its name formally became Pavonis Mons in 1973.

Using NASA Mars Global Surveyor  and Odyssey data, combined with developments in the study of glaciers, scientists suggest that glaciers once existed on Pavonis Mons and probably still do to some extent.  Evidence for this includes concentric ridges (moraines "dropped" by glaciers), a knobby area (caused by ice sublimating), and a smooth section that flows over other deposits (debris-covered glacial ice). The ice could have been deposited when the tilt of Mars changed the climate, thereby causing more moisture to be present in the atmosphere. Studies suggest the glaciation happened in the Late Amazonian period, the most recent period in Mars chronology. Multiple stages of glaciation probably occurred. The ice present today represents one more resource for possible future colonization of the planet.

The mission
Mars Global Surveyor (MGS) was an American robotic spacecraft developed by NASA's Jet Propulsion Laboratory and launched November 7, 1996. Mars Global Surveyor was a global mapping mission that examined the entire planet, from the ionosphere down through the atmosphere to the surface.  As part of the larger Mars Exploration Program, Mars Global Surveyor performed monitoring relay for sister orbiters during aerobraking, and it helped Mars rovers and lander missions by identifying potential landing sites and relaying surface telemetry.
It completed its primary mission in January 2001 and was in its third extended mission phase when, on 2 November 2006, the spacecraft failed to respond to messages and commands. A faint signal was detected three days later which indicated that it had gone into safe mode. Attempts to recontact the spacecraft and resolve the problem failed, and NASA officially ended the mission in January 2007.
The Mars Orbiter Camera (MOC) science investigation used 3 instruments: a narrow angle camera that took (black-and-white) high resolution images (usually 1.5 to 12 m per pixel) and red and blue wide angle pictures for context (240 m per pixel) and daily global imaging (7.5 km per pixel). MOC returned more than 240,000 images spanning portions of 4.8 Martian years, from September 1997 and November 2006.[6] A high resolution image from MOC covers a distance of either 1.5 or 3.1 km long. Often, a picture will be smaller than this because it has been cut to just show a certain feature. These high resolution images may cover features 3 to 10 km long. When a high resolution image is taken, a context image is taken as well. The context image shows the image footprint of the high resolution picture. Context images are typically 115.2 km square with 240 m/pixel resolution.

LE CHAPEAU DE GENDARME / LEXANTZUMENDI BY EUGENE VIOLLET-LE-DUC

EUGENE VIOLLET-LE-DUC (1814-1879)

Chapeau de Gendarme / Lexantzumendi (572m - 1,876ft) 

 France (Pays basque)

 In Montagne calcaire de Lichans, prise de Tardets 1833  

The mountain 

Le Chapeau de Gendarme  (The Hat of Policeman (572m - 1,876ft) in Basque langage Lexantzumendi, is a hill located north of Licq-Atherey (France). The name was given by analogy of form with the bicorne equipping the policemen of the emperor Napoleon Ist, the same bicorne than the emperor himself use to wear on battle fields. 

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.

MOUNT UTSU / 鬱岳 BY TAWARAYA SOTATSU / 俵屋 宗達

TAWARAYA SOTATSU / 俵屋 宗達  (c.1570 - c.1640)

 Mount Utsu / 鬱岳 (818m - 2,848ft)

Japan   

In  Mount Utsu (Utsu no yama), from The Tales of Ise (Ise monogatari), 1634, 

 Poem card (shikishi) mounted as a hanging scroll; ink, color, and gold on paper, 

The MET 

Notice by The MET concerning this painting :
This poem card comes from a set of more than twenty surviving sheets, each of which is illustrated with a scene from the tenth-century Tales of Ise and accompanied by a poem from the relevant chapter inscribed by a calligrapher of the day. In this episode, a courtier traveling on Mount Utsu (literally, “mountain of sadness”) meets an itinerant monk on his way to Kyoto and asks him to give his regards to a lover in the distant capital.

The artist
Tawaraya Sōtatsu (俵屋 宗達) was a Japanese painter and designer of the Rinpa school. The exact date of Sōtatsu's birth, probably around 1570, remains unknown, and so does the place of his birth.
Sōtatsu is best known for his decorations of calligraphic works by Hon'ami Kōetsu (1558–1637), and his spectacular and highly influential byōbu folding screens, such as National Treasures Wind God and Thunder God and his painting of the Sekiya and Miotsukushi chapters from The Tale of Genji. He also popularized a technique called tarashikomi, in which a second layer of paint is applied before the first layer is dry.
He is also credited with co-founding the Rinpa school of Japanese painting, together with Kōetsu. Rinpa was not strictly a school, but a group of artist directly influenced by Sōtatsu and Kōetsu. Some of the most notable Rinpa artists are Ogata Kōrin (1658–1716), Ogata Kenzan (1663–1743) and Sakai Hōitsu (1761–1828).

The mountain 

Mount Utsu  (鬱岳) (818m- 2,848ft)  is located in the Kitami Mountains (北見山地), a mountain range of Hokkaidō, Japan. Unlike much of the rest of Japan, the Kitami Mountains are not very seismically active.The Kitami Mountains are north of the Ishikari Mountains and east of the Teshio Mountains. Rocks from the Kitami mountains are mostly sedimentary from the Cretaceous-Paleogene periods. Volcanic rock was placed down on top of this from volcanoes that erupted in the Miocene or later.The Kitami Mountains formed in the inner arc of the Kurile Arc.
Mount Utsu, the lowest peak of Kitami Mountains range, is a meisho which means a place well known for its mythology and paths of overgrown ivy and maples trees. Mount Utsu is often used metaphorically to contrast a kind of reality within the dream world. Utsu is a play on the word Utsutsu which’s literal meaning is reality and has connotations of one’s awakening moments and also a mountain of sadness. It appears in stories and operates in both the prose and poetry. It’s appears in famous works such as The Ise Stories which is a narrative that tells the travels of an unnamed protagonist. Mount Utsu in  the Suruga Province is mentioned in Chapter 9 of the Ise Stories and this chapter is a tale of the protagonists’ exile to eastern Japan. In this part of the story, the unnamed protagonist meets a wandering monk at Mount Utsu which means the main protagonist is awakening to reality. He then ask the monk to present his lover with a poem of longing, despair and sadness. In the poem, he says he can no longer see his love, not even in his dreams, which symbolizes that she hasn’t been thinking of him. In ancient Japanese tradition, it is believed that if he sees his lover in a dream, that she will be thinking about him... Mount Utsu has been depicted in many paintings as well.

FALAISES D'ETRETAT BY CLAUDE MONET

CLAUDE MONET (1840-1926)

The Falaises d'Etretat (70 to 90 m -  230 to 300 ft)  

France (Normandie) 

 In Régates derriere l'Aiguille d'Etretat, 1885, oil on canvas

The cliffs 

Etretat is best known for its chalk cliffs, including three natural arches and a pointed formation called L'Aiguille (the Needle), which rises 70 m- 230 ft above the sea. The Etretat Chalk Complex, as it is known, consists of a complex stratigraphy of Turonian and Coniacian chalks. Some of the cliffs are as high as 90 metres (300 ft).

L'arche et L'aiguille  (The Ark and the Needle) above. An underground river, then marine erosion formed a natural arch and a estimated 55 meter to 70 meters  high needle, relic piece of the cliff. Maurice Leblanc describes it in these terms in his novel The Hollow Needle (1909) : "An enormous roach, more than eighty meters high, colossal obelisk, plumb on its granite base"  At his time, the site already attracted many tourists among them "lupinophiles" admirers of Arsene Lupine: American students came for the key to the cave, where the "gentleman burglar" had found the treasure of kings of France.

The painter 
Oscar-Claude Monet better known as Claude Monet  was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term "Impressionism" is derived from the title of his painting « Impression, soleil levant » (Impression, Sunrise), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris.
Monet's ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons exactly like the japanese artist  Hokusai (1760-1849) did with his 36 views of Mount Fuji.
Monet has been described as "the driving force behind Impressionism". Crucial to the art of the Impressionist painters was the understanding of the effects of light on the local colour of objects, and the effects of the juxtaposition of colours with each other. Monet's long career as a painter was spent in the pursuit of this aim....

MOUNT CONNER BY ALBERT NAMATJIRA

ALBERT NAMATJIRA (1902-1959) 

Mount Conner  (859 m - 2,818 ft)

Australia  (Northern Territory)

In Mount Connor, watercolor on paper, 1950

The mountain 

Mount Conner (859 m - 2,818 ft) also known as Attila and Artilla, and occasionally found as Mount Connor, is an Australian mountain located in the southwest corner of the Northern Territory, 75 kilometres (47 mi) southeast of Lake Amadeus at the border of the vast Curtin Springs cattle station in Pitjantjatjara country.

Mount Conner is a flat-topped and horseshoe-shaped inselberg/mesa, part of the same vast rocky substrate thought to be beneath Uluru/Ayers Rock and Kata Tjuta/Olgas. It can easily be confused with Uluru, since it can be seen from the road to Uluru and Kata Tjuta, when approaching from Alice Springs. It was named Mount Conner by William Gosse in 1873 after South Australian politician M. L. Conner.

Attila is close to the site of Kungkarangkalpa, the Seven Sisters Dreaming.

The summit of Mt Conner, along with the summits of low domes in the Kata Tjuta complex and summit levels of Uluru, is an erosional remnant of a Cretaceous geomorphic surface. It is considered to a classic example of an inselberg created by erosion of surrounding strata.

The  painter 

Albert Namatjira  born Elea Namatjira, was a Western Arrernte-speaking Aboriginal artist from the MacDonnell Ranges in Central Australia. As a pioneer of contemporary Indigenous Australian art, he was the most famous Indigenous Australian of his generation.
Born and raised at the Hermannsburg Lutheran Mission outside Alice Springs, Namatjira showed interest in art from an early age, but it was not until 1934 (aged 32), under the tutelage of Rex Battarbee, that he began to paint seriously. Namatjira's richly detailed, Western art-influenced watercolours of the outback departed significantly from the abstract designs and symbols of traditional Aboriginal art, and inspired the Hermannsburg School of painting. He became a household name in Australia—indeed, reproductions of his works hung in many homes throughout the nation—and he was publicly regarded as a model Aborigine who had succeeded in mainstream society.
Although not the first Aboriginal artist to work in a European style, Albert Namatjira is certainly the most famous. Ghost gums with luminous white trunks, palm-filled gorges and red mountain ranges turning purple at dusk are the hallmarks of the Hermannsburg school. Hermannsburg Mission was established by Lutheran missionaries in 1877 on the banks of the Finke River, west of Mparntwe (Alice Springs). Namatjira learnt watercolour technique from the artist, Rex Battarbee.
Initially thought of as having succumbed to European pictorial idioms – and for that reason, to ideas of European privilege over the land – Namatjira’s landscapes have since been re-evaluated as coded expressions on traditional sites and sacred knowledge. Ownership of country is hereditary, but detailed knowledge of what it ‘contains’ is learnt in successive stages through ceremony, song, anecdote and contact. Namatjira’s father’s country lay towards Mount Sonder and Glen Helen Gorge, in the MacDonnell Ranges, and his mother’s country was in the region of Palm Valley in Central Australia. In Namatjira’s paintings, the totemic connections to his country are so indelible that, for example, Palm Valley the place and Palm Valley, c.1940s, the painting seem to intersect, detailing Namatjira’s artistic, cultural and proprietorial claim on the land.
 One of his first landscapes from 1936, Central Australian Landscape, shows a land of rolling green hills. Another early work, Ajantzi Waterhole (1937), shows a close up view of a small waterhole, with Namatjira capturing the reflection in the water. The landscape becomes one of contrasting colours, a device that is often used by Western painters, with red hills and green trees in Red Bluff (1938). Central Australian Gorge (1940) shows detailed rendering of rocks and reflections in the water. In Flowering Shrubs Namatjira contrasts the blossoming flowers in the foreground with the more barren desert and cliffs in the background. Namatjira's love of trees was often described so that his paintings of trees were more portraits than landscapes, which is shown in the portrait of the often depicted ghost gum in Ghost Gum Glen Helen (c.1945-49). Namatjira's skills at colouring trees can be clearly seen in this portrait. Namatjira was fully aware of his own talent, as was shown when he was describing another landscape painter to William Dargie: "He does not know how to make the side of a tree which is in the light look the same colour as the side of the tree in shadow...I know how to do better."
Namatjira's skills kept increasing with experience as is shown in the highly photographic quality of Mt Hermannsburg (1957), painted only two years before he died.
 In 1957, Namatjira became the first Aboriginal person to be granted conditional Australian citizenship. This entitled him to limited social freedoms and to live in Mparntwe, although he was prohibited from purchasing land. His relations, including his children, were not permitted the same privileges.
After an incident in 1958 that didn’t directly involve the artist, Namatjira was charged with supplying alcohol to members of the Aboriginal community – at the time, it was illegal for all Aboriginal people, except Namatjira, to possess and consume alcohol. Namatjira was sentenced to six months labour at Papunya and this, exacerbated by the authorities’ refusal to allow him to purchase the land of his ancestors, caused him profound despair. He served only two months, and died shortly after.
The more recent, dramatic success of the nearby Papunya Tula movement must be read against the history of its predecessor, the Hermannsburg school, which has endured for over half a century. In 2002, the centenary of Namatjira’s birth was celebrated with a major retrospective at the National Gallery of Australia, Canberra.

MONT BLANC BY CLEMENT CASTELLI

CLEMENT CASTELLI (1870-1959) 

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

  France - Italy  border

In La Chaine du Mont Blanc vue de Courmayeur, oil on canvas, 1950

Anout this painting
A stamp, affixed to the back of his paintings, indicates that at least for a time, his studio was located in Paris, rue du Faubourg-du-Temple. Clement Castelli has exhibited his works for many years at the Salon des Artistes Indépendants and at the Salon des Artistes Français.

The painter 
Clement (or Clemente) Castelli was born in Premia, Italy.  He moved to Paris in 1880, and studied painting with  Jules Adler and Léon Bellemont before to be a member of the  " Société des peintres de Montagnes " (Mountain Painters Society). Clement Castelli spent most of his career painting mountains in the French Alps (Chamonix Valley, La Meije and Oisans) but also the Swiss Alps (many paintings representing the Matterhorn in particular and the Junfgfrau) and Italian Alps. It painted as  mountain landscapes as well as valley bottoms or views from the peaks that its qualities of mountaineer allows it to frequent. He also painted some paintings on the Pyrenean sites (the Cirque de Gavarnie, the lake of Gaube or the valley of Ossau) which he exhibited in Tarbes. It was a prolific artist who  often paints on small panels, easier to carry with him in  mountains, but also on canvas. He paints with a brush, quite classically; its palette, made of rather "cold" colors is characteristic.

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.

XIAO MOUNTAINS / 崤山 PAINTED BY XIA GUI / 夏圭

XIA GUI / 夏圭  (active ca. 1195-1230),

Xiao mountains  / 崤山 (1, 903m - 6, 243ft) 

China

 In  Mountain Market, Clearing Mist, Album leaf, ink on silk, The MET  

About the painting

According to the MET notice : 

 "This album leaf presents a poetic evocation of one of the Eight Views of the Xiao and Xiang Rivers. The Eight Views became a popular subject for painters beginning in the late eleventh century after the Chan (Japanese: Zen) Buddhist monk Huihong (1071–1128) composed eight poems on these themes. His poem Mountain Market, Clear with Rising Mist offers vivid images for painters to interpret:

Last night's rain is letting up, mountain air is heavy,

Steam rising, sun and shadow, shifting light

amid trees;

The silkworm market comes to a close, the crowd

thins out,

Roadside willows by the market bridge: golden

threads play;

Whose house with flower-filled plot is across

the valley?

A smooth-tongued yellow bird calls in spring breeze;

Wine flag in hazy distance-look and you can see:

It's the one west of the road to Zhe Tree Reidge

Valley.

(Alfreda Murck, trans., in Images of the Mind - Princeton: The Art Museum, Princeton University, 1984, p. 226)

In Xia Gui's interpretation, boldly executed brushstrokes and ink dots create an abstract language of visual signs rather than merely descriptive forms: the kinesthetic brushstrokes, which change effortlessly from outlines and foliage dots to wedge-shaped modeling strokes and ink wash, at once simplify and unify the landscape and human forms, breathing life into the moisture-drenched landscape. It was this brilliantly simplified idiom of ink wash and ax-cut brush that infused gesture with meaning, preparing the way for the expressive calligraphic revolution of the ensuing Yuan dynasty."

The painter 

Xia Gui (Chinese: 夏圭 or 夏珪), courtesy name Yuyu (禹玉), was a Chinese landscape painter of the Song dynasty. Very little is known about his life, and only a few of his works survive, but he is generally considered one of China's greatest artists. He continued the tradition of Li Tang, further simplifying the earlier Song style to achieve a more immediate, striking effect. Together with Ma Yuan, he founded the so-called Ma-Xia (馬夏) school, one of the most important of the period.
Although Xia was popular during his lifetime, his reputation suffered after his death, together with that of all Southern Song academy painters. Nevertheless, a few artists, including the Japanese master Sesshū, continued Xia's tradition for hundreds of years, until the early 17th century.
Contemporary accounts describe Xia as a painter who worked very fast, and with great ease. Pure and Remote View of Streams and Mountains is a work on paper, which absorbs ink quickly, and so must be an example of such spontaneous creation. Xia was also praised for his technical skill in drawing architecture and similar objects freehand, rather than using a ruler. Some sources mention the painter's preference for brushes with worn tips, used to avoid excessive smoothness, and "split" brushes, which allowed making two or more strokes at the same time.

The mountain 
Mount Xiao or Mount Yao (崤山) is a range of mountains in western Henan, China north of the Luo River and south of Sanmenxia. Major peaks include Qīnggǎngfēng (1, 903m - 6, 243ft)  and Guānyúnshān (1,666 m - 5,465 ft). The range is part of the Xiáo  historical region on the border of Hénán and Shānxī provinces in China. The area between Yáo and the strategic Hángǔ Pass was called Xiáohán.

LA MEIJE BY CHARLES-HENRI CONTENCIN

CHARLES-HENRI CONTENCIN (1898-1955)

La Meije (3,984m - 13, 071ft)

France (Isère)

  In La Meije et  l'Oratoire du Chazelet, oil on canvas,  1946

The mountain 

La Meije (3,984m- 13, 071ft) is a mountain in the Massif des Écrins range, located at the border of the Hautes-Alpes and Isère départements. It overlooks the nearby village of La Grave, a mountaineering centre and ski resort, well known for its off-piste and extreme skiing possibilities, and also dominates the view west of the Col du Lautaret. It is the second highest mountain of the Écrins after Barre des Écrins. The central and second highest summit has five teeth, the highest of which is known as Le Doigt de Dieu (The Finger of God). This summit was reached from the northeast on June 28, 1870, by Christian and Ulrich Almer and Christian Gertsch, guiding Meta Brevoort and W.A.B. Coolidge. The ridge from the central to the main, Western peak, which is 13 meters higher, was considered an insurmountable obstacle for the next 15 years.
The Western true summit of La Meije, the Grand Pic, is notorious in that there is no "easy" path to its top and it was the last major peak in the Alps to be summited. The first ascent was eventually made from the southwest on 16 August 1877 by father and son Pierre Gaspard and their client Emmanuel Boileau de Castelnau. Their approach, over the south buttress Arête du Promontoire and further over the Glacier Carré and the southwest face of the Grand Pic is now the normal route.
On July 26, 1885, Ludwig Purtscheller and the brothers Otto and Emil Zsigmondy made the first traverse from the central to the main summit, via the "insurmountable" gap that is now known as the Brèche Zsigmondy, in what is still considered a classic route though thoroughly modified by a may 1964 rockfall. The traverse in the opposite direction was accomplished 6 years later by Ulrich Almer, Fritz Boss and J.H. Gibson.
The south face is widely considered to be the most difficult of La Meije. Within two weeks after their successful traverse, the Zsigmondy brothers, together with Karl Schulz, tried to reach the Brèche Zsigmondy over the south face, but Emil died in the attempt. The first successful attempt was not until twenty-seven years later, in 1912 by Angelo Dibona, Luigi Rizzi, and the brothers Guido and Max Mayer, while a direct route over the south face to the Grand Pic was only climbed in 1935 and that to the Central Pic in 1951.
For mountaineering, La Meije can be approached from two mountain refuges:
- The refuge du Promontoire at 3,082 metres, situated at the bottom of the steep south buttress of the peak, and allows access to routes on the south face of the mountain.
- The refuge de l'Aigle at 3,450 metres, situated at the top of the Tabuchet glacier, and allows access to the north face.

The painter 

Charles-Henri Contencin (1898-1955), is a French painter who painted many landscapes of mountain and high mountain of the great Alpine peaks, Mont Blanc and Massif and the Écrins mainly. His palette is characteristic. He particularly used the effects of sunrise or sunset over snow or glaciers.

Raised in the Bernese Oberland to the age of 10-12 years, it was a lifelong mountain lover. Good climber, he was a member of the French Alpine Club, where he made the connection with the Mountain Painters Society (SPM). He made the First World War in the infantry and he received the War Cross. He then worked in an architectural office and at the Compagnie des chemins de Fer du Nord before joining the french national railways company, the SNCF, where he was responsible for engineering structures.
In addition to his professional designs it is also author of posters and handbills for the railways under the pseudonym "Charles-Henri." He is best known for its mountain paintings and leaves an important work.

2018 - Wandering Vertexes...
by Francis Rousseau 

GROSSGLOCKNER BY HEINRICH. C. BERANN

HEINRICH C. BERANN  (1915-1999) 

Grossglockner or Glokner (3,798 m - 12,460ft)

Austria 

 In  Grossglockner poster, 1932

The mountain  

The Grossglockner (or just Glockner) (3,798 m - 12,460 ft) is above the Adriatic, the highest mountain of Austria and the highest mountain in the Alps east of the Brenner Pass. It is part of the larger Glockner Group of the Hohe Tauern range, situated along the main ridge of the Central Eastern Alps and the Alpine divide. The Pasterze, Austria's most extended glacier, lies on the Grossglockner's eastern slope. The characteristically pyramid-shaped peak actually consists of two pinnacles, the Grossglockner and the Kleinglockner (3,770 m -12,370 ft), from German: klein, "small"), separated by a saddle-like formation known as the Glocknerscharte.

The history of the climbs started with French-born natural scientist Belsazar Hacquet, from 1773 professor of anatomy at the Academy of Ljubljana. He travelled the Eastern Alps from 1779 to 1781 and published an itinerary in 1783, describing the Glokner mountain and stating that it had not been climbed yet. He estimated the mountain's height with converted (3,793 m -12,444 ft) and left an engraving illustrating Grossglockner and Pasterze, the first known depiction of the mountain.

Inspired by Hacquet's book and the first ascent of the Mont Blanc in 1786, the Gurk prince-bishop Count Franz Xaver of Salm (1749–1822) together with his vicar general Sigismund Ernst Hohenwart  (1745–1825) and Baron Franz Xaver von Wulfen (1728–1805) started efforts for a Grossglockner expedition. They engaged two peasants from Heiligenblut as mountain guides to do the first explorations for an ascent through the Leitertal valley, which is the side of Grossglockner with the least ice (people feared glaciers in these times). These valiant men, called "Glockners" in the records, did more than they were ordered to do - and probably reached the Kleinglockner summit on 23 July 1799.

One month later the bishop's expedition started: a mountain hut (the first Salm Hut) had been built and the path in the Leitertal valley was prepared so that the bishop could use a horse to reach it. 30 people, among them Salm, Hohenwart and Wulfen, were part of the expedition. They suffered with bad weather and a first effort failed, but on 25 August 1799 Hohenwart and at least four other people, including the two "Glockners", reached - again - the Kleinglockner, where they installed one of the first summit crosses (one of the main goals of the church expedition). Hohenwart's reports did not tell clearly that they had not touched the highest point but Bishop Salm (who had reached the Adlersruhe rock at 3,454 m (11,332 ft)) was informed. Dissatisfied, he invited another, even bigger expedition the next year.

On 28 July 1800, 62 people, among them the pedagogue Franz Michael Vierthaler and the botanist David Heinrich Hoppe, started again into the Leitertal valley. Four peasants and carpenters (the "Glockners" and two others who are not known) did a track in the snow, had installed fixed ropes at some steeper sections up to the end of the Glocknerleitl, and even built a second refuge, called Hohenwarte Hut. The vanguard reached the Kleinglockner peak, however, according to the expedition records by the Dellach priest Franz Joseph Horasch (Orasch), only the four guides and Mathias Hautzendorfer, the local priest of the Rangersdorf parish, were able to cross the Obere Glocknerscharte and climb the Grossglockner summit. Hautzendorfer had to be persuaded to venture the step and administered the last rites in advance.

The two "Glockners" are usually identified as the brothers Joseph (Sepp) and Martin Klotz, however, this surname is not listed in the Heiligenblut parish register. A local peasant named Sepp Hoysen is documented as a member of the second Grossglockner expedition in 1802, and the surveyor Ulrich Schiegg mentioned one Martin Reicher as "Glockner" guide. The peasants and several other members of the expedition (among them Schiegg and his young apprentice Valentin Stanič, who climbed Mt. Watzmann for the first time some weeks later) did the ascent again the next day and finally installed the summit cross and a barometer on the Grossglockner summit.

Bishop Salm undertook two more ascents in 1802 (with Hohenwart reaching the summit) and in 1806, however, he himself never climbed beyond the Adlersruhe rock. The climbing of the Grossglockner was also described by the botanist Josef August Schultes, who explored the massif together with Count Apponyi in 1802. No further ascents were made during the Napoleonic Wars, the huts decayed and were plundered by locals. In the following Vormärz era, however, the mountain became a popular venue for Alpinists like Hermann and Adolf Schlagintweit, who all followed the route of the first ascent.

By the mid 19th century, the developing Alpine tourism began to alter the traditional agriculture economy in the Heiligenblut area. Therefore, the people of Kals tried to lay out a straight ascent from the western side, which however was not reached until Julius von Payer explored the ridge between Glöcknerleitl and Ködnitzkees in 1863. Johann Stüdl had a via ferrata erected along the southwestern ridge the next year and the Stüdlhütte erected at its foot in 1868. Already in 1869, most expeditions to the summit started in Kals. The first winter ascent of the Grossglockner was made on January 2, 1875 by William Adolf Baillie Grohman, a member of the Alpine Club. In 1876 Count Pallavicini and his guide Hans Tribusser undertook the first expedition up the steep glaciated Northeast Face, chopping 2,500 steps into the Pallavicinirinne in an ice climbing master stroke not repeated for 23 years.

In 1879, Count Pallavicini dedicated a new iron summit cross on the occasion of the silver wedding of Emperor Franz Joseph of Austria and Empress Elisabeth; both had visited Heiligenblut and walked to the present-day Franz-Josefs-Höhe viewpoint in 1865. The cross was installed on 2 October 1880. Pallavicini also had the Archduke John Hut erected at the former Adlersruhe resting place of Bishop Salm, today the highest situated mountain hut in Austria. The Austrian Alpine Club built the new Salmhütte and the Glocknerhaus along the alpine route from Heiligenblut.

A first ascent by skiing was made in 1909 and the circumnavigation of the massif soon became a popular ski mountaineering tour. The Grossglockner became Austria's highest mountain, when the South Tyrolean Ortler region had to be ceded to the Kingdom of Italy according to the 1919 Treaty of Saint-Germain, which promoted its reputation as a tourist attraction.

The artist

Heinrich C. Berann, (1915–1999) the father of the modern panorama map, was born into a family of painters and sculptors in Innsbruck, Austria. He taught himself by trial and error. In the years 1930-1933 he attended the arts and design school "Bundeslehranstalt für Malerei" in Innsbruck.

Winning of first prize at a competition for a panorama map created great enthusiasm in him. Using his artistic heritage and new self-discovered techniques he invented a new way of painting landscapes for tourist purposes. The further development of both these panorama maps and his artistic style was influenced by lasting impressions he received during his military service in German Army in Norway and Northern Finland in 1942.

In 1962 he painted Mount Everest for the National Geographic Society, one of his most famous panoramic maps. He worked with Marie Tharp and Bruce C. Heezen to produce maps of the entire ocean floor in 1977.

He later created four panoramas for the United States National Park Service: Yellowstone National Park, North Cascades National Park, Yosemite National Park and finally Mt. McKinley National Park (now Denali). He was very sick when he painted Denali (above) - but he finished it in the age of 81.

In 2000, Tom Patterson of the National Park Service explored ways of digitally creating panoramas like Berann did for the Park Service.

MOUNT DENALI MAP BY HEINRICH. C. BERANN

HEINRICH  C. BERANN (1915 - 1999) 

Mount Denali, ex Mount Mc Kinley (6,190 m - 20,310 ft)

United States of America (Alaska)

 In Denali map for US National Park Service, 1995.

The mountain 

Denali (also known as Mount McKinley, see the Naming paragraph below)) is the highest mountain peak in North America, with a summit elevation of  6,190 m - 20,310 feet above sea level. Denali is the third most prominent and third most isolated peak after Mount Everest and Aconcagua.  Denali  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 seven summit are :
Mount Everest (8,848m), Aconcagua (6,961m), Mt Denali or Mc Kinley (6,194m),  Kilimandjaro (5,895m), Mt Elbrus (5,642m), Vinson  Massif (4,892m), Mt Blanc (4,807m) and Mount Kosciuszko (2,228m) in Australia.

Located in the Alaska Range in the interior of the U.S. state of Alaska, Denali is the centerpiece of Denali National Park and Preserve.

Denali has two significant summits: the South Summit is the higher one, while the North Summit has an elevation of 19,470 ft (5,934 m) and a prominence of approximately 1,270 ft (387 m).  The North Summit is sometimes counted as a separate peak (see e.g., fourteener) and sometimes not; it is rarely climbed, except by those doing routes on the north side of the massif.

Five large glaciers flow off the slopes of the mountain. The Peters Glacier lies on the northwest side of the massif, while the Muldrow Glacier falls from its northeast slopes. Just to the east of the Muldrow, and abutting the eastern side of the massif, is the Traleika Glacier. The Ruth Glacier lies to the southeast of the mountain, and the Kahiltna Glacier leads up to the southwest side of the mountain.  With a length of 44 mi (71 km), the Kahiltna Glacier is the longest glacier in the Alaska Range.

The Koyukon Athabaskans who inhabit the area around the mountain have for centuries referred to the peak as Dinale or Denali. The name is based on a Koyukon word for "high" or "tall".  During the Russian ownership of Alaska, the common name for the mountain was Bolshaya Gora (Russian: Большая Гора, meaning Russian "big mountain)" which is the Russian translation of Denali.  It was briefly called Densmore's Mountain in the late 1880s and early 1890s after Frank Densmore, an Alaskan prospector who was the first European to reach the base of the mountain.

In 1896, a gold prospector named it McKinley as political support for then-presidential candidate William McKinley, who became president the following year. The United States formally recognized the name Mount McKinley after President Wilson signed the Mount McKinley National Park Act of February 26, 1917.  

In 1965, Lyndon B. Johnson declared the north and south peaks of the mountain the "Churchill Peaks", in honor of British statesman Winston Churchill.  The Alaska Board of Geographic Names changed the name of the mountain to Denali in 1975, which was how it is called locally.  However, a request in 1975 from the Alaska state legislature to the United States Board on Geographic Names to do the same at the federal level was blocked by Ohio congressman Ralph Regula, whose district included McKinley's hometown of Canton.

On August 30, 2015, just ahead of a presidential visit to Alaska, the Barack Obama administration announced the name Denali would be restored in line with the Alaska Geographic Board's designation. 

The artist

Heinrich C. Berann, (1915–1999) the father of the modern panorama map, was born into a family of painters and sculptors in Innsbruck, Austria. He taught himself by trial and error. In the years 1930-1933 he attended the arts and design school "Bundeslehranstalt für Malerei" in Innsbruck.

Winning of first prize at a competition for a panorama map created great enthusiasm in him. Using his artistic heritage and new self-discovered techniques he invented a new way of painting landscapes for tourist purposes. The further development of both these panorama maps and his artistic style was influenced by lasting impressions he received during his military service in German Army in Norway and Northern Finland in 1942.

In 1962 he painted Mount Everest for the National Geographic Society, one of his most famous panoramic maps. He worked with Marie Tharp and Bruce C. Heezen to produce maps of the entire ocean floor in 1977.

He later created four panoramas for the United States National Park Service: Yellowstone National Park, North Cascades National Park, Yosemite National Park and finally Mt. McKinley National Park (now Denali). He was very sick when he painted Denali (above) - but he finished it in the age of 81.

In 2000, Tom Patterson of the National Park Service explored ways of digitally creating panoramas like Berann did for the Park Service.

BLUE FUJIYAMA / 富士山 BY KATSUSHIKA HOKUSAI

KATSUSHIKA HOKUSAI (1760–1849) 

Fujiyama / 富士山 (3, 776 m -12,389 ft) 

Japan

 In Blue Fuji, Musée Guimet, Paris 

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.

About the blue 
This intense blue that immediately strikes the visitor is the "Berlin blue" (also called Prussian blue), a pigment newly imported from Europe to Japan at the beginning of the 19th century and which has been used by Hokusai as well as  by Hiroshige.

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.



GUNUNG KRAKATOA 1883 ERUPTION BY PARKER & COWARD LITH.

PARKER & COWARD  LITHOGRAPH (1888)

Gunung Krakatoa (813 m - 2,667 ft) 

Indonesia (Java- Sumatra)  

 In  The eruption of Krakatoa, and subsequent phenomena.  27 May 1883, litho on paper, 

Report of the Krakatoa Committee of the Royal Society 

The volcano

Krakatoa, or Krakatau  (813 m - 2,667 ft) is a volcanic island situated in the Sunda Strait between the islands of Java and Sumatra in the Indonesian province of Lampung. The name is also used for the surrounding island group comprising the remnants of a much larger island of three volcanic peaks which was obliterated in a cataclysmic 1883 eruption. 
The most notable eruptions of Krakatoa culminated in a series of massive explosions over August 26–27, 1883, which were among the most violent volcanic events in recorded history. With an estimated Volcanic Explosivity Index (VEI) of 6, the eruption was equivalent to 200 megatons of TNT (840 PJ)—about 13,000 times the nuclear yield of the Little Boy bomb (13 to 16 kt) that devastated Hiroshima, Japan, during World War II, and four times the yield of Tsar Bomba (50 Mt), the most powerful nuclear device ever detonated.
The 1883 eruption ejected approximately 25 km3 (6 cubic miles) of rock.  The cataclysmic explosion was heard 4,800 km (3,000 mi) away in Alice Springs, as well as on the island of Rodrigues near Mauritius, 4,653 km (2,891 mi) to the west.
According to the official records of the Dutch East Indies colony, 165 villages and towns were destroyed near Krakatoa, and 132 were seriously damaged. At least 36,417 people died, and many more thousands were injured, mostly from the tsunamis that followed the explosion. The eruption destroyed two-thirds of the island of Krakatoa.

Eruptions in the area since 1927 have built a new island at the same location, named Anak Krakatau (which is Indonesian for "Child of Krakatoa"). Periodic eruptions have continued since, with recent eruptions in 2009, 2010, 2011, and 2012. In late 2011, this island had a radius of roughly 2 kilometres (1.2 mi), and a highest point of about 324 metres (1,063 ft) above sea level,[5] growing 5 metres (16 ft) each year.[6] In 2017 the height of Anak Krakatau was reported as over 400 metres above sea level.
The previous recorded and documented eruptions were in 1680-81, 535AD, 416AD.