GERLACHOVSKY STIT (2) BY JAN STANISLAWSKI

  JAN STANISLAWSKI (1860-1907)

 Gerlachovský štít (2,654 m - 8,709 ft)

Poland - Slovakia border

In  Tatras,  medium oil on cardboard, 1900

The mountain 

Gerlachovský štít (2,654 m - 8,709 ft), Gerlach Peak in english, is the highest peak in the High Tatras, in Slovakia, and in the whole 1,500 km (930 mi) long Carpathian mountain chain. The pyramidal shape of the massif is marked by a huge cirque. Despite its relatively low elevation, the about 2,000 m vertical rise from the valley floor makes Gerlachovský štít  soar. Mistaken for an average mountain in the rugged High Tatras range in the more distant past, it has since played a symbolic role in the eyes of the rulers and populations of several Central European nations, to the point that between the 19th and mid-20th century, it had four different names with six name reversals. It managed to be the highest mountain of the Kingdom of Hungary, and of the countries of Czechoslovakia and Slovakia within the span of only about two decades of the 20th century.

Gerlachovský štít  shares its geology and ecology with the rest of the High Tatras, but provides a worthwhile environment for biologists as the highest ground anywhere in Europe north of the parallel linking approximately Munich, Salzburg, and Vienna. With the travel restrictions imposed by the Eastern Bloc, the mountain was particularly treasured as the loftiest point available to climb to by Czechs, East Germans, Hungarians, Poles, and Slovaks. It continues to attract its share of visitors although the local authorities have been continually adding new restrictions on access.

The painter 
Jan Stanisławski was a Polish modernist painter, art educator, founder and member of various innovative art groups and literary societies. He began to learn painting at the art studio in Warsaw which later gave rise to the School of Fine Arts, under Wojciech Gerson.  In 1885, he continued his studies in Paris under Charles Emile Auguste Durand. While based in Paris, he travelled much, visiting Italy, Spain, Switzerland, Germany, Austria and eastern Galicia.
His early works were exhibited at the inauguration of the Salon du Champ-de-Mars in Paris in 1890 and at the Kraków Society of Friends of Fine Arts in 1892. In the 1890s, he travelled extensively and his sketchbooks filled up with drawings from Berlin, Dresden, Prague, Kraków, and various places in Ukraine.  In 1897, he initiated and helped organise the Separate Exhibition of Painting and Sculpture at Kraków’s Cloth Hall. That year, he became a teacher of landscape painting at the School of Fine Arts in Kraków, and in 1906 – after the school was upgraded to an academy in 1900 – was granted full professorship and also taught at Teodor Axentowicz’s Private School of Painting and Drawing for Women and at Teofila Certowicz’s Art School for Women in Kraków.
He co-founded the Society of Polish Artists "Sztuka" ("Art") in Kraków in 1897.  In 1898, he became a member of the Viennese Secession, and his works were exhibited among theirs in 1901, 1902 and 1905. In 1901, he became a founding member of the Polish Applied Arts Society. He worked in the Wawel Castle Reconstruction Committee and was involved in the activities of the Green Balloon (Zielony Balonik) Cabaret. After his death, two exhibitions were opened at the Palace of Art by the Kraków Society of Friends of Fine Arts in November 1907, one to show 154 of his oil paintings, as well as drawings and watercolours, and the other to present the works of his numerous outstanding students.

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2018 - Wandering Vertexes...
by Francis Rousseau 

MOUNT KOSCIUSZKO BY WILLIAM CHARLES PIGUENIT

WILLIAM CHARLES PIGUENIT (1836 -1914), 

Mount Kosciuszko (2, 228 m - 7,310 ft)

Australia

  In  Mount Kosciusko, 1903, oil on canvas, National Gallery of Victoria, Melbourne 

The mountain 

On the planet earth, there are two mountains named Mount Kosciuszko. One is located in Antartica continent and the other in Australia (Oceania continent). 

In Australia, Mount Kosciuszko (2,228 m - 7,310 ft) is a mountain located on the Main Range of the Snowy Mountains in Kosciuszko National Park, part of the Australian Alps National Parks and Reserves, in New South Wales  and is located west of Crackenback and close to Jindabyne.

Mount Kosciuszko is the highest mountain in Australia. Various measurements of the peak originally called Kosciuszko showed it to be slightly lower than its neighbour, Mount Townsend. The names of the mountains were swapped by the New South Wales Lands Department, so that Mount Kosciuszko remains the name of the highest peak of Australia, and Mount Townsend ranks as second.  When considering all of Oceania as a continent, Mount Kosciuszko is overshadowed by Puncak Jaya in Papua, Indonesia, also called Carstensz Pyramid. Different versions of the Seven Summits climbing challenge depend on which is chosen to be the "Australia" peak.

There are several native Aboriginal (Ngarigo) names associated with Mount Kosciuszko, with some confusion as to the exact sounds. These are Jagungal, Jar-gan-gil, Tar-gan-gil, Tackingal; however, all of them mean "Table Top Mountain."

Mount Kosciuszko was named by the Polish explorer Paul Edmund Strzelecki in 1840, in honour of the Polish national hero and hero of the American Revolutionary War General Tadeusz Kościuszko, because of its perceived resemblance to the Kościuszko Mound in Kraków. The spelling "Mount Kosciuszko" was officially adopted in 1997 by the Geographical Names Board of New South Wales, Australia. 

Climbing routes

- There is a road to Charlotte Pass, from which an 8-kilometre (5 mi) path leads to the summit. Anyone can walk to the top. Until 1977 it was possible to drive through Rawson Pass to within a few metres of the summit. The walking track to Mount Kosciuszko from Charlotte Pass is in fact that road, which was closed to public motor vehicle access due to environmental concerns. This track is also used by cyclists as far as Rawson Pass, where they must leave their bicycles at a bicycle rack and continue onto the summit track on foot.

- The peak may also be approached from Thredbo, which is a shorter 6.5 kilometres (4 mi), taking 3 to 3.5 hours for a round trip. This straightforward walk is supported by a chairlift all-year round. From the top of the chairlift there is a raised mesh walkway to protect the native vegetation and prevent erosion.

- Both tracks meet at Rawson Pass, at an elevation of 2,100 metres (6,900 ft) above sea level, from where it is about 1.6 kilometres (0.99 mi) to the summit. 

The peak and the surrounding areas are snow-covered in winter and spring (usually beginning in June and continuing until October or later). The road from Charlotte Pass is marked by snow poles and provides a guide for cross-country skiers and the track from Thredbo is easily followed until covered by snow in winter. 

Mount Kosciuszko 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 Mt Blanc (4,808m)

The painter 

William Charles Piguenit also known as W.C. Piguenit or Bill Piguenit was an Australian landscape painter, amateur photographer, draughtsman and explorer, born in Hobart Town, Van Diemen’s Land. The family can be traced back to Pons, in the province of Saintonge, France, from which, as Huguenots, they escaped after the revocation of the Edict of Nantes in 1685 to settle in Bristol, Somerset. William Charles attended Cambridge House Academy in Hobart; a school report of 18 December 1849 praises his 'mapping, particularly that of Van Diemen’s Land’. In September 1850, as an assistant draughtsman, he joined the Tasmanian Lands and Survey Department where much of his time was spent preparing maps of Tasmania. 

When Piguenit exhibited at Melbourne in 1870, showing a watercolour sketch of Mount Wellington from the Huon Road, the Daily Telegraph of 20 July called him 'a young artist who gives promise of better things’. His love for the Tasmanian landscape and his improved artistic ability led to his being invited to accompany James R. Scott’s expedition to Arthur Plains and Port Davey in March 1871 as official artist. The results of the trip formed the basis for later illustrations in the Picturesque Atlas of Australasia and in R.M. Johnston’s Systematic Account of the Geology of Tasmania. 
Having won another silver medal from the academy in 1875 for Mount Olympus, Lake St Clair, Tasmania (see above), Piguenit sent five of his Grose Valley oil landscapes to the academy’s 1876 exhibition and was awarded a certificate of merit for one, though the Sydney Mail critic was tepid in his praise: 'It would be enough to say that they are all very nicely painted and that all have about the same colour and tone’.
Regarded as the leading Australian-born landscape painter in the latter part of the nineteenth century, Piguenit was a founding committee member of the Art Society of New South Wales (elected Vice President in 1886) and regularly showed work in its exhibitions. He was represented in many major exhibitions, such as the 1880 Melbourne International, and he received many awards, including silver medals in 1874 and 1875 from the NSW Academy of Art, two second prizes at the 1888 Melbourne Centennial International Exhibition and gold medals from the 1883 Calcutta International and the 1888 Queensland Art Society and Tasmanian Juvenile Industries exhibitions. He was hung in the Paris Salon in 1893 and at the Chicago World’s Fair in 1894 (Scene on the Upper Nepean River, now AGNSW). A Tasmanian view near Prince of Wales Bay was presented by the Government House Literary Society to their founder and patron, Lady Hamilton, on her departure in 1892.

GUNUNG MERAPI (2) BY ARTHUR ELAND

ARTHUR ELAND (1884-1948)

 Gunung Merapi (2,914m - 9,500 ft)

Indonesia (Java) 

The mountain 

Gunung Merapi (2,914m - 9,500 ft)  is an active stratovolcano located on the border between Central Java and Yogyakarta, Indonesia. It is the most active volcano in Indonesia and has erupted regularly since 1548. It is located approximately 28 kilometres (17 mi) north of Yogyakarta city which has a population of 2.4 million, and thousands of people live on the flanks of the volcano, with villages as high as 1,700 metres (5,600 ft) above sea level.

Smoke can often be seen emerging from the mountaintop, and several eruptions have caused fatalities. Pyroclastic flow from a large explosion killed 27 people on 22 November 1994, mostly in the town of Muntilan, west of the volcano.Another large eruption occurred in 2006, shortly before the Yogyakarta earthquake. In light of the hazards that Merapi poses to populated areas, it has been designated as one of the Decade Volcanoes.

On 25 October 2010 the Indonesian government raised the alert for Mount Merapi to its highest level and warned villagers in threatened areas to move to safer ground. People living within a 20 km (12 mi) zone were told to evacuate. Officials said about 500 volcanic earthquakes had been recorded on the mountain over the weekend of 23–24 October, and that the magma had risen to about 1 kilometre (3,300 ft) below the surface due to the seismic activity. On the afternoon of 25 October 2010 Mount Merapi erupted lava from its southern and southeastern slopes.

The mountain was still erupting on 30 November 2010, but due to lowered eruptive activity on 3 December 2010 the official alert status was reduced to level 3. The volcano is now 2930 metres high, 38 metres lower than before the 2010 eruptions.

After a large eruption in 2010 the characteristic of Mount Merapi was changed. On 18 November 2013 Mount Merapi burst smoke up to 2,000 meters high, one of its first major phreatic eruptions after the 2010 eruption. Researchers said that this eruption occurred due to combined effect of hot volcanic gases and abundant rainfall.

In 2004 an area of 6,410 hectares around Mount Merapi was established as a national park. The decision of the Ministry of Forestry to declare the park has been subsequently challenged in court by The Indonesian Forum for Environment, on grounds of lack of consultation with local residents. During the 2006 eruption of the volcano it was reported that many residents were reluctant to leave because they feared their residences would be confiscated for expansion of the national park, meaning they wouldn't have a house.

Merapi is very important to Javanese, especially those living around its crater. As such, there are many myths and beliefs attached to Merapi. It is believed that when the gods had just created the Earth, Java was unbalanced because of the placement of Mount Jamurdipo on the west end of the island. In order to assure balance, the gods (generally represented by Batara Guru) ordered the mountain to be moved to the centre of Java. However, two armourers, Empu Rama and Empu Permadi, were already forging a sacred keris at the site where Mount Jamurdipo was to be moved. The gods warned them that they would be moving a mountain there, and that they should leave; Empu Rama and Empu Permadi ignored that warning. In anger, the gods buried Empu Rama and Empu Permadi under Mount Jamurdipo; their spirits later became the rulers of all mystical beings in the area. In memory of them, Mount Jamurdipo was later renamed Mount Merapi, which means "fire of Rama and Permadi.

The Javanese believe that the Earth is not only populated by human beings, but also by spirits (makhluk halus). Villages near Merapi believe that one of the palaces (in Javanese kraton) used by the rulers of the spirit kingdom lies inside Merapi, ruled by Empu Rama and Empu Permadi. This palace is said to be a spiritual counterpart to the Yogyakarta Sultanate, complete with roads, soldiers, princes, vehicles, and domesticated animals. Besides the rulers, the palace is said to also be populated by the spirits of ancestors who died as righteous people. The spirits of these ancestors are said to live in the palace as royal servants (abdi dalem), occasionally visiting their descendants in dreams to give prophecies or warnings. "

To keep the volcano quiet and to appease the spirits of the mountain, the Javanese regularly bring offerings on the anniversary of the sultan of Yogyakarta's coronation. For Yogyakarta Sultanate, Merapi holds significant cosmological symbolism, because it is forming a sacred north-south axis line between Merapi peak and Southern Ocean (Indian Ocean). The sacred axis is signified by Merapi peak in the north, the Tugu Yogyakarta (id) monument near Yogyakarta main train station, the axis runs along Malioboro street to Northern Alun-alun (square) across Keraton Yogyakarta (sultan palace), Southern Alun-alun, all the way to Bantul and finally reach Samas and Parangkusumo beach on the estuary of Opak river and Southern Ocean. This sacred axis connected the hyangs or spirits of mountain revered since ancient times—often identified as "Mbah Petruk" by Javanese people—The Sultan of Yogyakarta as the leader of the Javanese kingdom, and Nyi Roro Kidul as the queen of the Southern Ocean, the female ocean deity revered by Javanese people and also mythical consort of Javanese kings.

The painter 

There is not much biographical information about Arthur Eland, except that he was Leo Eland's twin brother. These two Dutch  brothers were born in 1884 in the Dutch East Indies on Java in Salatiga. After the death of Arthur and since the 1970s many of his canvases and watercolors representing large Indonesian volcanic landscapes have gone into auctions especially at Christie's and have acquired unmistakable market value. Christie's classified him after the colonial impressionist painters

MONS HADLEY BY NASA APOLLO 15 MISSION

NASA APOLLO 15 MISSION (July, 26, 1971- August  7, 1971)

Mons Hadley (4,600m -15,091ft) 

The Moon 

 From Apollo 15 Hasselblad image for film magazine 87/KK

The mountain
Mons Hadley (4,600m / 4, 6 km -15,091ft )is  the second highest mountain on the Moon, the first being Mons Huyghens (5, 500m - 18,044ft.  Mons Hadley is a massif in the northern portion of the Montes Apenninus, a range in the northern hemisphere of the Moon. The selenographic coordinates of this peak are  26.5° N, 4.7° E. It has a maximum diameter of 25 km at the base.
To the southwest of this mountain is a valley that served as the landing site for the Apollo 15 expedition. To the southwest of this same valley is the slightly smaller Mons Hadley Delta (δ) peak with a height of about 3.5 km. The coordinates of this peak are 25.8° N, 3.8° E. To the west of these peaks is the sinuous Rima Hadley rille where the Fallen Astronaut memorial has been placed in memory of those astronauts who died in the advancement of space exploration.
These features were named after John Hadley.
This sinuous lunar rille follows a course generally to the northeast, toward the Mons Hadley peak, for which it is named. This feature is centered at selenographic coordinates 25.0° N, 3.0° E, and lies within a diameter of 80 km. It begins at the crater Béla, an elongated formation with the long axis oriented to the northwest.

The mission 
Apollo 15 was the ninth manned mission in the United States' Apollo program, the fourth to land on the Moon, and the eighth successful manned mission. It was the first of what were termed
"J missions", long stays on the Moon, with a greater focus on science than had been possible on previous missions. It was also the first mission on which the Lunar Roving Vehicle was used.
The mission began on July 26, 1971, and ended on August 7. At the time, NASA called it the most successful manned flight ever achieved.
Commander David Scott and Lunar Module Pilot James Irwin spent three days on the Moon, including 18Ѕ hours outside the spacecraft on lunar extra-vehicular activity (EVA). The mission landed near Hadley rille, in an area of the Mare Imbrium called Palus Putredinus (Marsh of Decay). The crew explored the area using the first lunar rover, which allowed them to travel much farther from the Lunar Module (LM) than had been possible on missions without the rover. They collected 77 kilograms (170 lb) of lunar surface material. At the same time, Command Module Pilot Alfred Worden orbited the Moon, using a Scientific Instrument Module (SIM) in the Service Module (SM) to study the lunar surface and environment in great detail with a panoramic camera, a gamma-ray spectrometer, a mapping camera, a laser altimeter, a mass spectrometer, and a lunar sub-satellite deployed at the end of Apollo 15's stay in lunar orbit (an Apollo program first).
The mission successfully accomplished its objectives. Ironically, this mission was one of very few that had been honored with the issue of a commemorative US stamp, with this first use of a lunar rover happening one decade after the first Mercury astronaut launch.

MOUNT ETNA PAINTED BY CARL ROTTMANN

CARL ROTTMANN (1797-1850)

Mount Etna or Mongibello (3,329 m - 10,922ft) 

 Italy (Sicily) 

In  Mount Etna and  Taormina,  oil on canvas, 1825, Neue Pinakothek Munchen 

The mountain 

Mount Etna (3,329 m - 10,922ft) or Mongibello, Mungibeddu in Sicilian, Aetna in Latin is an active stratovolcano on the east coast of Sicily, in the Province of Catania, between Messina and Catania. It lies above the convergent plate margin between the African Plate and the Eurasian Plate. It is the tallest active volcano in Europe. It is the highest mountain in Italy south of the Alps. Etna covers an area of 1,190 km2 (459 sq mi) with a basal circumference of 140 km. This makes it by far the largest of the three active volcanoes in Italy, being about two and a half times the height of the next largest, Mount Vesuvius. Only Mount Teide in Tenerife surpasses it in the whole of the European–North-African region.

In Greek Mythology, the deadly monster Typhon was trapped under this mountain by Zeus, the god of the sky and thunder and king of gods, and the forges of Hephaestus were said to also be located underneath it.

Mount Etna is one of the most active volcanoes in the world and is in an almost constant state of activity. The fertile volcanic soils support extensive agriculture, with vineyards and orchards spread across the lower slopes of the mountain and the broad Plain of Catania to the south. 

Due to its history of recent activity and nearby population, Mount Etna has been designated a Decade Volcano by the United Nations.

 In June 2013, it was added to the list of UNESCO World Heritage Sites.

Volcanic activity first took place at Etna about 500,000 years ago, with eruptions occurring beneath the sea off the ancient coastline of Sicily.[ About 300,000 years ago, volcanism began occurring to the southwest of the summit (center top of volcano) then, before activity moved towards the present centre 170,000 years ago. Eruptions at this time built up the first major volcanic edifice, forming a stratovolcano in alternating explosive and effusive eruptions. The growth of the mountain was occasionally interrupted by major eruptions, leading to the collapse of the summit to form calderas.

From about 35,000 to 15,000 years ago, Etna experienced some highly explosive eruptions, generating large pyroclastic flows, which left extensive ignimbrite deposits. Ash from these eruptions has been found as far away as south of Rome's border, 800 km (497 mi) to the north.

Thousands of years ago, the eastern flank of the mountain experienced a catastrophic collapse, generating an enormous landslide in an event similar to that seen in the 1980 eruption of Mount St. Helens. The landslide left a large depression in the side of the volcano, known as 'Valle del Bove' (Valley of the Ox). Research published in 2006 suggested this occurred around 8000 years ago, and caused a huge tsunami, which left its mark in several places in the eastern Mediterranean. It may have been the reason the settlement of Atlit Yam (Israel), now below sea level, was suddenly abandoned around that time.

The steep walls of the valley have suffered subsequent collapses on numerous occasions. The strata exposed in the valley walls provide an important and easily accessible record of Etna's eruptive history.

The most recent collapse event at the summit of Etna is thought to have occurred about 2,000 years ago, forming what is known as the Piano Caldera. This caldera has been almost entirely filled by subsequent lava eruptions, but is still visible as a distinct break in the slope of the mountain near the base of the present-day summit cone.

The painter

Carl Anton Joseph Rottmann was a German landscape painter and the most famous member of the Rottmann family of painters. Rottmann belonged to the circle of artists around the Ludwig I of Bavaria, who commissioned large landscape paintings exclusively from him. He is best known for mythical and heroising landscapes. The landscape painter Karl Lindemann-Frommel belonged to his school. Rottmann received his first drawing lessons from his father, Friedrich Rottmann, who taught drawing at the university in Heidelberg. He formed himself chiefly through the study of nature and of great masterworks. In his first artistic period, he painted atmospheric phenomena. After gaining prominence with Heidelberg at Sunset (a water color), and Castle Eltz, he settled in Munich in 1822 and devoted himself to Bavarian scenery. Here his second period began, and in 1824 he married Friedericke, the daughter of his uncle, Friedrich Ludwig von Sckell, who served as an attendant at court. Through this connection, he made the acquaintance of King Ludwig I of Bavaria, who in 1826/27 sponsored his travels in Italy in order to widen his repertoire, which up to that point consisted solely of domestic, German, landscapes. In Italy, Rottmann made sketches for the 28 Italian landscapes in fresco which he was commissioned to paint in the arcades of the Hofgarten at Munich. The cycle, completed in 1833, gave visual expression to Ludwig’s alliance with Italy, and raised the genre of landscape painting to the height of history painting, the preferred mode of the King’s other great commissions for monumental painting. The frescos unfortunately deteriorated under climatic influences. The cartoons for them are in the Darmstadt Gallery. In 1834 Rottmann traveled to Greece to prepare for a commission from Ludwig for a second cycle; one might mark here the beginning of his third period. At first also intended for the Hofgarten arcade, the 23 great landscapes were eventually installed in the newly built Neue Pinakothek where they were given their own hall.

MOUNT NARODNAYA PAINTED BY VLADIMIR KAZANTSEV

 VLADIMIR KAZANTSEV (1849- 1902)

Mount Narodnaya (1,894 m - 6,214 ft)

Russia

  In The Urals 1888, oil on canvas, Irkutsk Regional Art Museum

The mountain 
Mount Narodnaya  (1,894 m - 6,214 ft), also known as Naroda and Poenurr which means  "People's Mountain"  is the highest peak of the Urals in Russia.  It is in Khanty–Mansi Autonomous Okrug in Tyumen Oblast, 0.5 km to east from the border of Komi Republic.  It is the highest point in European Russia outside the Caucasus. This leads to its large topographic prominence (1,772 me -5,814 ft). Narodnaya is located in the Ural mountains water divide, and therefore on the border between Europe and Asia: the Naroda river flows south-east from the summit into the Ob river in Siberia, and the Kos'yu river flows north-west from the summit into the Pechora river in Europe.
The mountain is formed with quartzites and metamorphosed slates of the Proterozoic Eon and Cambrian Period. There are some glaciers on the mountain. Also, there are sparse forests of larch and birch in the deep valleys at the foot of the mountain. The slopes of the mountain are covered with highland tundra. The easiest route to the summit is a technically easy hike on the moderate north-west slope. Depending on snow and ice conditions, crampons may be required. The south wall of Narodnaya is steeper and less commonly used to reach the summit.

The painter
Vladimir G. Kazantsev was a Russian landscape painter enrolled in the Academy of Fine Arts at the age of 31. Before that, he was a lawyer, graduated from the Law Faculty of Moscow State University and worked as a judicial investigator. Since 1883 Kazantsev become a permanent member of academic exhibitions. In 1884, the artist's permit for the contest, the winner of which gets the right to travel to a foreign trip. His picture did not win, but the title of academic painter and "artist of the second degree" was given to him. In his paintings  h captured many parts of Russia through  different seasons and different times of day. VG Kazantsev was fortunate enough to work at a time  the landscape was in a leading position in  arts in Russia.

2018 - Wandering Vertexes...
by Francis Rousseau 

QUEEN MAUD MOUNTAINS BY DAVID ROSENTHAL

DAVID ROSENTHAL (bn. 1953)

Queen Maud Mountains (4,230 m -13,880 ft) 

Antarctica

In Shackleton Glacier View, oil on canvas 

The mountains and the  glacier 
Shackleton Glacier is a major Antarctic glacier, over 96 km (60 mi) long and from 8 to 16 km (5 to 10 mi) wide, descending from the polar plateau from the vicinity of Roberts Massif and flowing north through the Queen Maud Mountains to enter the Ross Ice Shelf between Mount Speed and Waldron Spurs. The Roberts Massif is a remarkable snow-free massif exceeding 2,700 metres (8,860 ft) and about 155 km2 (60 sq mi) in area. It was visited by the Southern Party of New Zealand GSAE (1961–62), who named it for A.R. Roberts, leader at Scott Base for 1961-62. The glacier was discovered by the USAS (1939–41) and named by US-SCAN for Sir Ernest Shackleton, Irish Antarctic explorer.
The Queen Maud Mountains  (4,230 m -13,880 ft) are a major group of mountains, ranges and subordinate features of the Transantarctic Mountains, lying between the Beardmore and Reedy Glaciers and including the area from the head of the Ross Ice Shelf to the Antarctic Plateau in Antarctica. Captain Roald Amundsen and his South Pole party ascended Axel Heiberg Glacier near the central part of this group in November 1911, naming these mountains for the Norwegian queen Maud of Wales. Despite the name, they are not located within Queen Maud Land.

The Painter 
David Rosenthal is known as an Antarctic Painter, Painter of Ice, Arctic Artist, Alaskan Artist and an Extreme Artist. He has been lured to cold climates regularly to record snow, ice, and landscapes. Davids paintings of glaciers and icebergs are astoundingly realistic and at the same ethereal at the same time. However his work also includes much more than ice, icebergs and glaciers... Cordova, Alaska is the place David Rosenthal calls home. As an artist and art teacher David has taught and continues to teach many students in Alaska. While teaching art in Alaska, David has instructed students and artist in many programs including the Alaska Artists in the Schools Program, Prince William Sound Community College and University of Alaska Fairbanks Summer Sessions. Alaskan artist David Rosenthal makes it a priority to travel around Alaska as much as possible to continue to capture the incredible beauty in his artwork of Alaska.
Having spent over sixty months on the Ice, including four austral winters and six austral summers, David became an Antarctic artist and has created art images from a large variety of places in every season. David has completed paintings of the antarctic landscape from all across Antarctica. Time in Antarctica included travel as a participant in the National Science Foundation Antarctic Artists and Writers Program during a summer and a winter at McMurdo Station as well as most of a winter at Palmer Station. David has also worked for the NSF contractor for two winters and four summers in various job capacities as a way to spend time and become familiar with the landscape.
Rosenthal's work also includes many water colors, oil paintings, sketches and small studies. The paintings seem to magically reflect the intensity of nature's colors and the atmospheric phenomena that David Rosenthal  witnesses. David Rosenthal really is a master of Extreme Art!

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2018 - Wandering Vertexes...
by Francis Rousseau

VOLCAN SAN VICENTE / CHICHONTEPEC IN VINTAGE POSTCARD 1940

 VINTAGE POSTCARD 1940  

Volcan San Vicente / Chichontepec (2,182m-7,159ft) 

El Salvador 

The mountain 

San Vicente  (2,182m-7,159ft)  also known as Chichontepec or Las Chiches is a stratovolcano in central El Salvador. It is located next to the town of San Vicente (hence the name) and is the second highest volcano in El Salvador. In the indigenous language Nahuat, Chichontepec means the mountain of the two breasts, because its double summit resembles a woman's bosom. 

The volcano has two craters, one located in each summit, although not exactly at the top. Dense vegetation covers both summits. Numerous hot springs and fumaroles are found on the northern and western flanks of the volcano. To the northeast, at 820 metres in a ravine of 180 metres longitude, there are fumaroles—fountains of clear and muddy water or small volcanoes of mud.

The last significant eruption occurred more than 1,700 years ago. The volcano may have had a very long history of repeated, and sometimes violent, eruptions, and at least once a large section of the volcano collapsed in a massive landslide.

On August 9, 1995, Aviateca Flight 901 crashed at the volcano, killing all 65 people on board.

PIZ MORTERATSCH BY EDWARD T. COMPTON

EDWARD T. COMPTON  (1849-1921)
Piz Morteratsch (3,751 m -12,306 ft)
Switzerland

The mountain 
Piz Morteratsch (3,751 m - 12,306 ft) is a mountain in the Bernina Range in Switzerland. It is bordered on the east by the Morteratsch Glacier and on the south-west by the Tschierva Glacier. One of the easiest mountains in the range to climb, the normal route follows that taken by the first ascentionists C. Brьgger and P. Gensler with guides Karl Emmermann and Angelo Klaingutti on 11 September 1858. Three of its ridges present greater difficulties and are highly regarded:
- South-south-east ridge (D/D+), first ascent P. J. H. Unna with guides, 1903
- East-north-east ridge (AD), first ascent of complete ridge, Paul Schucan and A. Pfister, 10 October 1908 (the upper section had been climbed by Max Schintz with guides Alois Pollinger and his son Josef Pollinger of St. Niklaus in the canton Valais in August 1892)
- South-west ridge, (AD), first ascent by T. H. Philpott and Mrs Philpott with guides Peter Jenny and Alexander Fleury in September 1868
The mountain is served by the Boval hut (2,495 m, open 15 March–15 May and 15 June–15 October) and the Tschierva Hut (2,573 m, open end of March–15 May and 15 June–15 October).

The painter 

Edward Theodore Compton, usually referred to as E. T. Compton was an English-born, German artist, illustrator and mountain climber, not to be confused with his son Edward Harrison Compton, also a mountain painter. He is well known for his paintings and drawings of alpine scenery, and as a mountaineer made 300 major ascents including no fewer than 27 first ascents.

Initially painting in the English romantic tradition, Compton later developed a more realistic representation of nature, being guided by his true artistic ideas while retaining topographical accuracy. Even his early watercolors show the great importance of brightness and light and his work is also remarkable for its portrayal of the elements such as water and air, including ascending mist and fog. He can be regarded as an impressionist.

He attended various art schools, including, for a time, the Royal Academy in London, but otherwise he was mainly self-taught in art. In 1867, wanting the best education for their artistically-talented son, and due to the high cost of schooling in England, the family decided to emigrate to Germany settling in Darmstadt. The city at that time was the seat of the Grand Duchy of Hesse under Grand Duke Ludwig III, and a community of artists had sprung up there. Entries in Compton's diary show that both he and his father were art teachers - Alice, the Princess of Hesse numbered amongst Edward's students.

MOUNT KHUMBILA / KHUMBU YUL-LHA BY HEINRICH C. BERANN

HEINRICH C. BERANN  (1915-1999)

Mount Khumbila / Khumbu Yul-Lha (5,761 m- 18, 901ft) 

Nepal 

In Kumbu Himal map, 1950 for National Geographic 

The mountain 

Mount Khumbila or Khumbu Yul-Lha (5,761 m- 18, 901ft)  roughly translated as "God of Khumbu" is one of the high Himalayan peaks in the Khumbu region of Eastern Nepal within the boundaries of Sagarmatha National Park. Considered too sacred to be climbed by most local Sherpa people, the mountain is considered home to the patron God of the local area. The mountain overlooks the famous southern approaches to its larger neighbours including Ama Dablam and Mount Everest.

Khumbila has never been climbed; one attempt prior to the 1980s ended when climbers were killed in an avalanche, and there have been no subsequent attempts.

Khumbila is said to be a god, and an old one. The prayers for Khumbila are believed to date back to the time when the ancestors of the Sherpas were still in Tibet (more than 500 years ago). Khumbila is said to have been subdued and converted to Buddhism by Guru Rimpoche, the 8th-century saint who spread Buddhism throughout the Himalaya . In fact, Guru Rimpoche is said to have spent some time meditating in a cave above Khunde, perhaps on the mountain Khumbila itself.

Local buildings often have prayer flags on bamboo wands to honour Khumbila.

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.

LES GRANDES JORASSES BY GABRIEL LOPPÉ

GABRIEL LOPPÉ (1825-1913)

Les Grandes Jorasses (4,208m -13, 806 ft) 

 France - Italy border  

In Lever de soleil sur les Grandes Jorasses, 1872, oil on canvas,
Collection Amis du Vieux Chamonix

The mountain 

The Grandes Jorasses (4,208 m - 13,806 ft) is a mountain in the Mont Blanc massif, on the boundary between Haute-Savoie in France and Aosta Valley in Italy.  Les Grandes Jorasses are, simply speaking, the most strikingly complex and powerful structure of the entire Mont Blanc massif. If Mt. Blanc is the king of the Alps, the Grandes Jorasses complex is truly the queen.

The summits on the mountain (from east to west) are:

- Pointe Walker (4,208 m; 13,806 ft), named after Horace Walker, who made the first ascent of the mountain.

- Pointe Whymper (4,184 m; 13,727 ft), he second-highest summit named after Edward Whymper, who made the first ascent.

- Pointe Croz (4,110 m - 13,484 ft), named after Michel Croz, a guide from Chamonix.

- Pointe Elena (4,045 m -13,271 ft), named after Princess Elena of Savoy.

- Pointe Margherita (4,065 m- 13,337), named after Queen Margherita of Savoy, wife of King Umberto I of Italy

- Pointe Young (3,996 m - 13,110 ft)   named after Geoffrey Winthrop Young.

The first ascent of the highest peak of the mountain (Pointe Walker) was by Horace Walker with guides Melchior Anderegg, Johann Jaun and Julien Grange on 30 June 1868. The second-highest peak on the mountain (Pointe Whymper )was first climbed by Edward Whymper, Christian Almer, Michel Croz and Franz Biner on June 24, 1865, using what has become the normal route of ascent and the one followed by Walker's party in 1868.

North Face

Located on the French side of the mountain, the north face is one of the three great north faces of the Alps, along with the north faces of the Eiger and the Cervin/Matterhorn (known as 'the Trilogy'). One of the most famous walls in the Alps, it towers 1200 m (3,900 ft) above the Leschaux Glacier, stretching 1 km from end to end. 

South face

On the Italian side of the mountain, the south face can be accessed from the Boccalatte cabin, above the hamlet of Planpincieux in the Italian Val Ferret, part of the  municipality.

Summit ridge.

From the Col des Hirondelles, the summit ridge connects Pt. Walker to the other summit points and then descends to the Col des Grandes Jorasses where a bivouac shelter is located - the Bivouac E Canzio hut. The ridge forms the French-Italian border, almost all of which is above 4,000 m -13,000 ft).

The painter 

Gabriel Loppé (1825–1913) was a French painter, photographer and mountaineer. He became the first foreigner to be made a member of the Alpine Club in London. His father was a captain in the French Engineers and Loppé's childhood was spent in many different towns in south-eastern France. Aged twenty-one Loppé climbed a small mountain in the Languedoc and found a group of painters sketching on the summit. He had found his calling and subsequently went off to Geneva where he met the reputed leading Swiss landscapist, Alexandre Calame (1810 -1864). Loppé took up mountaineering in Grindelwald in the 1850s and made friends easily with the many English climbers in France and Switzerland. Although he was frequently labelled as a pupil of Calame and his rival Francois Diday, Loppé was almost an entirely self-taught artist. He became the first painter to work at higher altitudes during climbing expeditions earning the right to be considered the founder of the peintres-alpinistes school, which became established in the Savoie at the turn of the nineteenth century.
Notable followers of Loppé include, Charles Henri Contencin (1875-1955) and Jacques Fourcy (1900-1991). Together with the first ascent of Mt Mallet in Chamonix’s Grandes Jorasses range, Loppé made over 40 ascents of Mont Blanc during his climbing career, which lasted until the late 1890s.  He frequently made oil sketches from alpine summits, including a panorama of the view from the summit of Mont Blanc.
His paintings became celebrated for their atmosphere and spontaneity and he soon found himself taking part in many exhibitions in London and in Paris.
By 1896 Loppé had spent over fifty seasons climbing and painting in Chamonix. As the valley’s unrivalled ‘Court painter’ his work was in constant demand with the majority of his pictures going to English climbers and summer tourists.
In his later years, Loppé became fascinated with photography and was quite an innovator in this field too. His long exposure photograph of the Eiffel Tower struck by lightning, now in the Musée d'Orsay in Paris remains one of his iconic images.

PICO NAIGUATA / CERO EL AVILA (2) BY FRITZ MELBYE

FRITZ MELBYE (1826-1896)   

Pico Naiguatá  (2,765m - 9,072ft)

Venezuela 

In Vista de Caracas (2), Venezuela, oil on canvas  1860, 

Museo de Bellas Arte de Caracas

The mountain 

Pico Naiguatá  (2,765m - 9,072ft) is the summit of a mountain called Cerro el Avila in South America near Caracas, Venezuela, part of the Venezuelan Coastal Range, of which it is the highest peak. It is situated on the border of the Venezuelan states Miranda and Vargas. It is the highest point in both of these states and the fourth highest of the Caribbean after Pico Simón Bolivar and Pico Cristóbal Colón of The Santa Marta Coastal range in Colombia and Pico Duarte in the Dominican Republic.

The El Ávila National Park (or Waraira Repano, from an indigenous name for the area) protects part of the Cordillera de la Costa Central mountain range, in the coastal region of central-northern Venezuela. El Ávila National Park is located along the central section of the Cordillera de la Costa mountain system, in the Cordillera de la Costa Central mountain range.  El Ávila was declared a park in 1958, fulfilling an interest in its protection that had been prevalent since the 19th century. With its creation came the protection of the forested mountains that surround Caracas, the capital of Venezuela. These mountains now serve as both a recreational area and as a buffer to pollution and urban expansion. El Ávila has always been an important resource for the inhabitants of Caracas, who have used the area for a variety of activities, some of which have threatened its conservation.




The painter 

Fritz Sigfred Georg Melbye  was a Danish marine painter, the brother of Anton Melbye and Vilhelm Melbye who were also marine painters. He traveled widely, painting seascapes, coastal and harbour scenes as well as some landscapes in Europe, the Caribbean, Venezuela, North America and Asia.

In 1849, he set off for the Danish West Indies, settling on Saint Thomas. There he met the young Camille Pissarro whom he inspired to take up painting as a full-time profession. Pissarro became his pupil as well as close friend.

In April 1852, Melbye was on Saint Croix, preparing a trip to Venezuela. Pissarro decided to join him and they spent two years together in Caracas and the harbour city of La Guaira before Pissarro returned to Saint Thomas. Melbye stayed until 1856 and then briefly returned to Europe, living some time in Paris, before traveling to North America where he set up a studio in New York City.

He continued to travel widely, mainly to the Caribbean but also north to Newfoundland. A close friend in New York and frequent travelling companion on his Caribbean travels was the famous American landscape painter Frederick Church who also had a studio in New York.

In 1866, Melbye set off on a journey to the Far East in search of new adventures, leaving his studio in Church's care. In Asia he used Peking as a base for travels around the region which also took him to Japan. He died in Shanghai three years later.

Fritz Melbye initially painted seascapes in the family tradition his brother had taught him, but he increasingly turned to landscapes, coastal and town views with mountains. He preferred a realistic style, often with romantic scenes. He exhibited at Charlottenborg in Copenhagen from 1849-1858.

In Peking he was commissioned to paint the Imperial Summer Palace and during his years in America he exhibited at the Pennsylvania Academy of Fine Art.

MOUNT KENYA IN VINTAGE POSTCARDS 1940

VINTAGE POSTCARDS 1940 

Mount Kenya (5,199 m -17,057 ft) 

Kenya 

 In  Mount Kenya, The Commonwealth institute London, Anonymous painter, 1940, Posstcard 

The mountain 
Mount Kenya  (5,199 m -17,057 ft)  is the highest mountain in Kenya and the second-highest in Africa, after Kilimanjaro.   The origin of the name Kenya is not clear, but perhaps linked to the Kikuyu, Embu and Kamba words Kirinyaga, Kirenyaa and Kiinyaa which mean "God's resting place" in all three languages.  Mount Kenya is located in central Kenya, about 16.5 kilometres (10.3 mi) south of the equator, around 150 kilometres (93 mi) north-northeast of the capital Nairobi. Mount Kenya is the source of the name of the Republic of Kenya.
Mount Kenya is a stratovolcano created approximately 3 million years after the opening of the East African rift.   Before glaciation, it was 7,000 m (23,000 ft) high. It was covered by an ice cap for thousands of years. This has resulted in very eroded slopes and numerous valleys radiating from the centre.  There are currently 11 small glaciers and 8 peaks of which the highest are : Batian (5,199 m -  (17,057 ft), Nelion (5,188 m - 17,021 ft)) and Point Lenana (4,985 m - 16,355 ft).   The forested slopes are an important source of water for much of Kenya.

There are several vegetation bands from the base to the summit. The lower slopes are covered by different types of forest. Many alpine species are endemic to Mount Kenya, such as the giant lobelias and senecios and a local subspecies of rock hyrax. An area of 715 km2 (276 sq mi) around the centre of the mountain was designated a National Park and listed as a UNESCO World Heritage Site in 1997.  The park receives over 16,000 visitors per year.
The main ethnic groups living around Mount Kenya are Kikuyu, Ameru, Embu and Maasai.
The first three are closely related. They all see the mountain as an important aspect of their cultures.  The most famous Maasai  are semi-nomadic people, who use the land to the north of the mountain to graze their cattle. They believe that their ancestors came down from the mountain at the beginning of time.  The Maasai name for Mount Kenya is Ol Donyo Keri, which means 'mountain of stripes', referring to the dark shades as observed from the surrounding plains.  At least one Maasai prayer refers to Mount Kenya: " God bless our children, let them be like the olive tree of Morintat, let them grow and expand, let them be like Ngong Hills like Mt. Kenya, like Mt. Kilimanjaro and multiply in number. "
All these cultures arrived in the Mount Kenya area in the last several hundred years.

BEN LOMOND/ BEINN LAOMAINN BY GEORGE FENNEL ROBSON

GEORGE FENNEL ROBSON  (1788 - 1833) 

 Ben Lomond / Beinn Laomainn (974 m - 3,196 ft
United Kingdom Scotland 

The mountain 

Ben Lomond  / Beinn Laomainn  (974 m- (3,196 ft) is a mountain in the Scottish Highlands. Situated on the eastern shore of Loch Lomond, it is the most southerly of the Munros. Ben Lomond lies within the Ben Lomond National Memorial Park and the Loch Lomond and The Trossachs National Park, property of the National Trust for Scotland. Its accessibility from Glasgow and elsewhere in central Scotland, together with the relative ease of ascent from Rowardennan, makes it one of the most popular of all the Munros. On a clear day, it is visible from the higher grounds of Glasgow and across Strathclyde; this may have led to it being named 'Beacon Mountain', as with the equally far-seen Lomond Hills in Fife. Ben Lomond summit can also be seen from Ben Nevis, the highest peak in Britain, over 40 miles (64 km) away. The West Highland Way runs along the western base of the mountain, by the loch.
Ben Lomond's popularity in Scotland has resulted in several namesakes in the former British colonies of Australia, New Zealand, Jamaica, Trinidad and Tobago, and the United States.

The painter 
George Fennell Robson was an English watercolour painter. He received instruction in drawing from a Mr. Harle of Durham. In 1806 he went to London with £5 in his pocket.
Robson began to exhibit at the Royal Academy in 1807, in 1810 landscapes in the Bond Street gallery of the Associated Painters, where he was a member, and in 1813 with the Society of Painters in Oil and Watercolours. At the anniversary meeting on 30 November 1819 he was elected president of the last society, for a year. Robson was an honorary member of the Sketching Society, but weakness of sight prevented him from drawing at their evening meetings.
Robson published in 1808 a print of Durham, the profits of which enabled him to visit Scotland. In 1811 and 1812 he exhibited drawings of the Trossachs and Loch Katrine; and in 1814 published Scenery of the Grampians, with forty mountain landscapes, etched by Henry Morton after his drawings. From 1813 to 1820 he contributed, on the average, twenty drawings annually to the Oil and Watercolour Society's exhibition, mostly of the Perthshire highlands, but comprising also scenes from Durham, the Isle of Wight, and Wales.
When in 1821 the Society of Painters in Oil and Watercolours, now the Royal Watercolour Society of Painters, excluded oil paintings, Robson contributed 26 drawings to the exhibition of that year. Between 1821 and 1833 he exhibited 484 works there.
From 1829 to 1833 Robson worked with Robert Hills, the animal painter. His main talent was for the treatment of mountain scenery under broad effects of light and

CERRO PEDERNAL (2) BY GEORGIA O' KEEFFE

GEORGIA O' KEEFFE (1887–1986)

Cerro Pedernal (3,006 m - 9,862 ft)

United State of America (New Mexico) 




 In Cerro Pedernal, 1941, Georgia O'Keeffe Museum, Santa Fé




The mountain 

Cerro Pedernal  (3,006 m - 9,862 ft) locally known as just "Pedernal", is a narrow mesa in northern New Mexico (U.S.A). The name is Spanish for "flint hill". The mesa lies on the north flank of the Jemez Mountains, south of Abiquiu Lake, in the Coyote Ranger District of the Santa Fe National Forest.  Cerro Pedernal is essentially a high, long butte created by a volcanic process. Viewed along its East-West line, it appears as a tall point rising out of the New Mexico desert, but viewed along its North-South vantage, its true shape is more apparent as a long ridge.

Pedernal is the source of a chert used by the prehistoric Gallina people. The native peoples of the area used the rock around this mountain for arrowheads and other tools. 

Its cliffs are popular with rock climbers. Despite Cerro Pedernal's history and beauty, she is seldom climbed. The high butte is ringed by a long, sheer cliff band that seems impossible to climb unroped. Perhaps this is why few see her summit. However, there is a weakness in the cliffs that offers a short Class 4 scramble to the top. From the summit of Cerro Pedernal, you are afforded uncommon views. The Sangre de Cristo range is visible from Colorado to New Mexico. The Colorado 14er Culebra Peak is easily visible, as well as New Mexico's highest point, Wheeler Peak. On a clear day, the southern San Juan range in Colorado is visible, and even the La Platas around Durango. Ringing Cerro Pedernal is the Jemez range, which are mostly rolling mountains with lush greens. To the West is high desert landscape of deep red sandstone, blue rivers, and the tans and browns of the high desert. The summit of Cerro Pedernal is quite a spectacular spot. 

The famous artist Georgia O'Keeffe used to live for a time in this area (Ghost Ranch) and painted Cerro Pedernal several times (more than 20 paintings). She referred to Pedernal as her "favorite mountain."   Her ashes were scattered on its top.




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.

FUJIYAMA / 富士山 BY KOYO OKADA / 岡田紅陽

KOYO OKADA / 岡田紅陽  (1895- 1972)
Fujiyama / 富士山 (3, 776 m -12,389 ft)

Japan

In Mount Fuji in the mist, 1950, photo

The mountain 

The legendary Mount Fuji or Fujiyama (富士山) 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.

The artist 

Kōyō Okada (岡 田紅陽) is a Japanese photographer, winner of the 1954 edition of the Japan Photography Society Award. Koyo Okada devoted his whole life to photographing Mt.Fuji. 

He used to be photographing Mt.Fuji, wearing wadded kimono from his favorite Japanese style hotel, and neighbors called him ‘Koyo-san’ with intimacy. He was born in Uonuma of Nigata prefecture, and his great-grandfather, grandfather, and father were artists. He got interested in taking photos when he was in Waseda University, and he met Mt.Fuji seen from Oshino village when he was 21 years old. Since that time, the relationship with Mt.Fuji of more than 50 years had started. The life of Japanese people of those days with Mt.Fuji and the rural scenery at the foot of Mt.Fuji, which are in the picture, reminds us of the time and nature which Japan is losing. You should absolutely go to see his photos.

JEBEL EL-AZREG PAINTED BY NASR'EDDINE ETIENNE DINET

NASR'EDDINE ETIENNE DINET (1861-1929)

Jebel el-Azreg (1,491 m - 4,892 ft)

Algeria

In  Midi en juillet à Bou-Saâda (Noon In July in Bou Saâda), watercolour, 1884  

The mountain
Jebel el-Azreg  (1,491m) is the highest point of the Ouled Nail mountains (جبال أولاد نايل), a  range of the Saharian Atlas, located in Algeria near the town of Bou-Saâda. The Ouled Nail mountains  owe their name to the tribal confederation of Ouled Naïl who live in the massif.
The Ouled Nail mountains  are located between Jebel Amour to the east and the Zab mountains to the west, from Djelfa to Messaad, and constitute a set of links and depressions. The human presence in the region is attested from prehistoric times; enameled vestiges of Libyan-Berber writings, rock engravings and funerary monuments are found here. In antiquity, the region was populated by the Gétules, then by the Romans who installed advanced military posts as the castellium of Demmedi in Messaad.
During the Muslim conquest of the Maghreb in the seventh century, the region was inhabited by Zen Berbers: Sindjas, Ghomra and Laghouat who were islamized but remained independent over successive dynasties and empires. In the eleventh century, Zoghba Arab hordes enter the region.
During the Ottoman period, the Eastern tribes (Ouled Naipl Cheraga) depended on the authority of the Beylik of Constantine while the tribes of the West (Gheraba) fell under that of the Titteri.
The first French incursions into the region date from 1843, in 1861 the city of Djelfa is created. During the Algerian war, the region became a stronghold of the NLA, the armed wing of the FLN.
The Ouled Nail mountains  are home to some ksour, especially to Zaccar and Amourah, which testify that sedentary and village life was more developed at certain times. Numerous rock formations are present in the Ouled Naïl mountains, which are an extension of those of Jebel Amour and the Ksour mountains, the oldest dating back to 8000 BC .

The painter 

Nasr'Eddine Dinet (born as Alphonse-Étienne Dinet in Paris) was a French orientalist painter.

Compared to modernist painters such as Henri Matisse, who also visited northern Africa in the first decade of the 20th century, Dinet’s paintings are extremely conservative. They are highly mimetic, indeed ethnographic, in their treatment of their subject.

Dinet’s understanding of Arab culture and language set him apart from other orientalist artists. Surprisingly, he was able to find nude models in rural Algeria. Before 1900, most of his works could be characterized as "anecdotal genre scenes". As he became more interested in Islam, he began to paint religious subjects more often. He was active in translating Arabic literature into French, publishing a translation of an Arab epic poem by Antarah ibn Shaddad in 1898.

Dinet was born the son of a prominent French judge.   From 1871, he studied at the prestogious Lycée Henry IV in Paris, where the future president Alexandre Millerand was also among the students. Upon graduation in 1881 he enrolled in the École nationale supérieure des Beaux-Arts and entered the studio of Victor Galland. The following year he studied under William Bouguereau and Tony Robert-Fleury at the Académie Julian. He also exhibited for the first time at the Salon des artistes français.

Dinet made his first trip to Bou Saâda by the Ouled Naïl Range in southern Algeria in 1884, with a team of entomologists. The following year he made a second trip on a government scholarship, this time to Laghouat. At that time he painted his first two Algerian pictures: les Terrasses de Laghouat  (Laghouat Terraces) or  Oued M’Sila après l’orage (Oued M'Sila after the storm).

He won the silver medal for painting at the Exposition Universelle in 1889, and in the same year founded the Société Nationale des Beaux-Arts along with Meissonier, Puvis de Chavannes, Rodin, Carolus-Duran and Charles Cottet. In 1887 he further founded with Léonce Bénédite, director of the Musée du Luxembourg, the Société des Peintres Orientalistes Français.

In 1903 he bought a house in Bou Saâda and spent three quarters of each year there.

He announced his conversion to Islam in a private letter of 1908, and completed his formal conversion in 1913, upon which he changed his name to Nasr’Eddine Dinet. In 1929 he and his wife undertook the Hajj to Mecca. The respect he earned from the natives of Algeria was reflected by the 5,000 who attended his funeral on 12 January 1930 in Bou Saâda. There he was eulogized by the former Governor General of Algeria Maurice Viollette.

.___________________________________________
2019 - Wandering Vertexes...
by Francis Rousseau 

HUANDOY / TULLPARAJU PAINTED BY TEOFILO CASTILLO GUAS

TEOFILO CASTILLO  GUAS (1857-1922) 

Huandoy / Tullparaju (6,390 m - 20, 870 ft) 

 Peru 

In Huandoy seen from la laguna de Llanganuco, watercolour, Banca nacional del Peru

The mountain 

Huandoy / Tullparaju (6,390 m - 20, 870 ft) is a mountain located inside Huascarán National Park in Ancash, Peru. It is the second-tallest peak of the Cordillera Blanca section of the Andes, after Huascarán. The fisrt name Huandoy is  probably from Quechua Wantuy meaning  to transfer, to transpose, to carry, to carry a heavy load).  The second name Tullparaju is  possibly from Quechua Tullpa which means rustic cooking-fire, stove and Rahu  which means snow, ice, mountain with snow...  Huandoy / Tullparaju and  Huascarán  are rather nearby, separated only by the Llanganuco glacial valley (which contains the Llanganuco Lakes  represented in the painting above)) at 3,846 m asl.
Huandoy / Tullparaju  is a snow-capped mountain with four peaks arranged in the form of a fireplace, the tallest of which is 6,395 m. The four peaks are each over 6,000 m, and are :
- Huandoy (6, 395 m - 20, 981ft)
- Huandoy-West (6,356 m - 20, 853 ft)
- Huandoy-South (6,160 m - 20,209 ft)
- Huandoy-East (6,000 m- 19, 685 ft)
It was first climbed in 1932 by a German team.

The painter 
Teófilo Castillo Guas was a Peruvian painter, art critic and photographer. Representative of the Peruvian pictorial academicism,  he was influenced by the impressionism.
He studied at the Seminary of Santo Toribio in Lima and later in Europe: Spain, Belgium and France, countries where he contacted masterly art production. Returning to Peru, he stood out by exhibiting his paintings, inspired by the traditions of Ricardo Palma.
In 1888 he traveled to Buenos Aires where he married María Gaubeka and worked as a photographer and painter. In 1906 he returned to Peru to open his own workshop.
In the bieginning ot 20th century,  he worked as a painter and art critic in charge of the artistic direction of the magazines Prisma, La Ilustración Peruana and Variedades , where he presented reproductions in three colors (trichromes) of his main works.
He enthusiastically promoted the founding of the National School of Fine Arts in Lima.
From 1920 to his death, he settled in Tucumán, where he directed the magazine Sol y Nieve (Sun and Snox . In addition, he painted a large canvas depicting General Manuel Belgrano presenting the Argentine flag to the Congress of Tucumán in 1816, a work that the Argentine government acquired for 20,000 pesos.
He was also noted for his canvases of colonial evocation inspired by episodes of the Peruvian Traditions of Ricardo Palma, which he made with a quick, colorful brush, in which the characters and the crowds in the processions vibrate, among browns and pinks, greens and blues.

MOURRE NEGRE BY JEAN-BAPTISTE OLIVE

 JEAN-BAPTISTE OLIVE (1848-1936)    

Mourre Nègre  (1, 125m - 3, 691 ft)  

 France (Provence Alpes Côte d'Azur) 

In Champs de coquelicots dans le Luberon, 1872,  oil on canvas  Private collection 

The mountain 

The Mourre Nègre  (1, 125m - 3, 691 ft)   is the highest point of the Luberon Massif. Nowadays, this summit is rounded and capped with a hertzian antenna, which allows to see it from quite far away. It is located in the Grand Lubéron, straddling the communes of Auribeau, Cabrières-d'Aigues and Castellet.

Mourre and Negre both come from the Provençal, the first means "muzzle" and is often used to designate rounded summits, the second means "black".

The Grand Lubéron is the main part of the Luberon massif in terms of size, length and width. It must not be confused with Monts du Vaucluse. 

Open or semi-open (closed in drought) to road traffic, the "path of the peaks" and the "path of the riders" roam the peaks of the Grand Lubéron including Mourre Nègre. It is accessed by Lourmarin, Cucuron, Cabrières-d'Aigues and Vitrolles-en-Luberon South Luberon side as well as by Auribeau North side. Several other paths allow the discovery of the Luberon. Some are reserved for walkers, or riders. 

The painter 

Jean-Baptiste Olive was a French painter, the son of a wine merchant, born in Marseille. Étienne Cornellier, a decorator, encouraged him to register at École des beaux-arts de Marseille where he studied under the guidance of Joanny Rave. While training as a decorator, he painted many scenes of Marseille, its Vieux-Port (Old Harbour), its islands, and its seashore. In 1874 he travelled to Italy, mainly to Genoa and Venice. He occasionally participated in some of Provence's exhibitions at the time. In 1881 he became a member of Société des Artistes Français, and one year later he relocated to Paris. He contributed to the decoration of several Parisian places like the Cirque d’Hiver, the Basilica of the Sacré Cœur and the Exposition Universelle warded several prizes there.  In 1900 he won an order by the company Chemins de fer de Paris à Lyon et à la Méditerranée for two paintings created as decoration for the golden room at Le Train Bleu, a spectacular restaurant designed by architect Marius Toudoire in the Paris-Gare de Lyon train station (both paintings can still be seen there in this restaurant still in activity).
He was supported by several patrons, among them General Malesherbes and Marie-Louis Gassier, the owner of company Berger, a producer of pastis. In 1948, twelve years after his death, Marseille's Musée Cantini dedicated an exhibition to his centenary, displaying eighty-two of his paintings.
Although relatively little-known outside France - unlike his Marseillais fellow citizen Adolphe Monticelli, Olive is one of Provence's most iconic painters and an emblematic figure of the French marine art movement.
While proud of his Marseille origins, he long remained doubtful of his own painting talent.  While proud of his Marseille origins, he long remained doubtful of his own painting talent. His introverted character was in sheer contrast with his artwork's dazzling luminosity.