EL PINCHICHA BY ALEXANDER VON HUMBOLDT

ALEXANDER VON HUMBOLDT  (1769-1859)

El Pinchicha (4,784 m -15,696 ft)

Ecuador

In  El  Pinchicha  Vues des Cordillères et Monumens des Peuples Indigènes de l’Amérique,

gravure, published in Paris by F. Schoell in 1810  

The mountain 
El Pichincha   (4,784 m -15,696 ft)  is an active stratovolcano situated in  Ecuador. The two highest peaks of the mountain are Wawa Pichincha (Hispanicized spelling Guagua Pichincha  meaning child, baby or small  and Ruku Pichincha (Hispanicized Rucu Pichincha meaning old person, in Kithwa rujku langage) (4,698 metres (15,413 ft)). The active caldera is in Wawa Pichincha on the western side of the mountain.
Both peaks are visible from the city of Quito and both are popular acclimatization climbs.
 In October 1999, the volcano erupted and covered the city with several inches of ash. Prior to that, the last major eruptions were in 1553 and during the Plinian eruption of 1660, when about 30 cm of ash fell on the city of Quito.
In 1737 several members of the French Geodesic Mission to the Equator, including Charles-Marie de La Condamine, Pierre Bouguer and Antonio de Ulloa, spent 23 days on the summit of Rucu Pichincha as part of their triangulation work to calculate the length of a degree of latitude.
On 17 June 1742, during the same mission, La Condamine and Bouguer made an ascent of Guagua Pichincha and looked down into the crater of the volcano, which had last erupted in 1660. La Condamine compared what he saw to the underworld.
On May 24, 1822, General Sucre's southern campaign, in the context of the Spanish-America war of independence, came to a climax when patriot forces defeated the Spanish colonial army on the south-east slopes of this volcano. The engagement, known as the Battle of Pichincha, secured the independence of the territories of present-day Ecuador.
The most recent significant eruption was in August 1998. On March 12, 2000, a phreatic eruption killed two volcanologists who were working on the lava dome.

The artist

Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.

Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.

On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a While. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783.  Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.

Their stay in Ecuador was marked by the ascent of Pichincha (above)  and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit.  Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.

At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.

THE MONT BLANC BY JOHN RUSKIN

JOHN RUSKIN (1819-1900)

The Mont Blanc (4,808 m - 15,776 ft)

 France- Italy border  

In The Mont Blanc from Saint Martin sur Arve, watercolour, 

Ashmoleum Museum- Oxford University.

The mountain 

 The Mont Blanc  4,808.73 m (15,777 ft)  or Monte Bianco, both meaning "White Mountain", is the highest mountain in the Alps and the highest in Europe after the Caucasus peaks. It 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 summits, (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.  A Sardinian Atlas map of 1869 showing the summit lying two thirds in Italy and one third in France.

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

The painter 

John Ruskin was the leading English art critic of the Victorian era, as well as an art patron, draughtsman, watercolourist, a prominent social thinker and philanthropist. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany and political economy. His writing styles and literary forms were equally varied. Ruskin also penned essays and treatises, poetry and lectures, travel guides and manuals, letters and even a fairy tale. The elaborate style that characterised his earliest writing on art was later superseded by a preference for plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society. He also made detailed sketches and paintings of rocks, plants, birds, landscapes, and architectural structures and ornamentation.
He was hugely influential in the latter half of the 19th century, and up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognised as having anticipated interest in environmentalism, sustainability and craft.
Ruskin first came to widespread attention with the first volume of Modern Painters (1843), an extended essay in defence of the work of J. M. W. Turner in which he argued that the principal role of the artist is "truth to nature".  From the 1850s he championed the Pre-Raphaelites who were influenced by his ideas. His work increasingly focused on social and political issues. Unto This Last (1860, 1862) marked the shift in emphasis. In 1869, Ruskin became the first Slade Professor of Fine Art at the University of Oxford, where he established the Ruskin School of Drawing. In 1871, he began his monthly "letters to the workmen and labourers of Great Britain", published under the title Fors Clavigera (1871–1884). In the course of this complex and deeply personal work, he developed the principles underlying his ideal society. As a result, he founded the Guild of St George, an organisation that endures today.
About mountains he painted quite a lot of times, Ruskin wrote: "They are the great cathedrals of the earth, with their portals of rock, the mosaics of clouds, the choirs of  torrents, and the altars of snow, sometimes with purple sparkling stars." and  "Mountains are the beginning and the end of all natural scenery."

THE HOHER DACHSTEIN PAINTED BY TONI HALLER

TONI HALLER (1907-1944)

Hoher Dachstein (2, 995m - 9,826ft)

 Austria 

In Lake Gosau with the Dachstein, oil on canvas, private collection 

The painter 

Toni Haller, also known as Hans Sterbik, was an Austrian painter  born in 1907. Not a lot of informations about his life are available except he lived and worked in Vienna.  His work comprises landscapes and predominantly mountains landcapes. He found his motifs in Tyrol, the Salzkammergut, and the Dolomites.  Many works by Toni Haller have been sold at auction, including 'Winter in den Dolomiten' sold in 2011 for $7,563. The artist died in 1944.

The mountain 
Hoher Dachstein (2, 995m - 9,826ft) is a strongly karstic Austrian mountain, and the second highest mountain in the Northern Limestone Alps. It is situated at the border of Upper Austria and Styria in central Austria, and is the highest point in each of those states. Parts of the massif also lie in the state of Salzburg, leading to the mountain being referred to as the Drei-Lander-Berg ("three-state mountain"). The Dachstein massif covers an area of around 20x30 km with dozens of peaks above 2,500 m, the highest of which are in the southern and south-western areas. Seen from the north, the Dachstein massif is dominated by the glaciers with the rocky summits rising beyond them. By contrast, to the south, the mountain drops almost vertically to the valley floor (see above).
The summit was first reached in 1832 by Peter Gappmayr, via the Gosau glacier, after an earlier attempt by Erzherzog Karl via the Hallstätter glacier had failed. Within two years of Gappmayr's success a wooden cross had been erected at the summit. The first person to reach the summit in winter was Friedrich Simony, on 14 January 1847. The sheer southern face was first climbed on 22 September 1909 by the brothers Irg and Franz Steiner.

EL CHIMBORAZO PAINTED BY JOAQUIN PINTO

JOAQUIN PINTO  (1842-1906)

El Chimborazo (6,263 m -20,548 ft)  

Ecuador 

In El Chimborazo, oil on canvas, 190,  Museo Municipal de Quito 

The mountain
Chimborazo  (6,263 m -20,548 ft) is a currently inactive stratovolcano in the Cordillera Occidental range of the Andes ans the highest mountain in Ecuador and the Andes north of Peru ; it is higher than any more northerly summit in the Americas. Chimborazo is not the highest mountain by elevation above sea level, but its location along the equatorial bulge makes its summit the farthest point on the Earth's surface from the Earth's center.
Chimborazo is at the main end of the Ecuadorian Volcanic Arc, north west of the town of Riobamba. Chimborazo is in la Avenida de los Volcanes (the Avenue of Volcanoes) west of the Sanancajas mountain chain. Carihuairazo, Tungurahua, Tulabug, and El Altar are all mountains that neighbor Chimborazo.  The closest mountain peak, Carihuairazo, is 5.8 mi (9.3 km) from Chimborazo. There are many microclimates near Chimborazo, varying from desert in the Arenal to the humid mountains in the Abraspungo valley.
Its last known eruption is believed to have occurred around A.D. 550.
Until the beginning of the 19th century, it was thought that Chimborazo was the highest mountain on Earth (measured from sea level), and such reputation led to many attempts on its summit during the 17th and 18th centuries.
In 1746, the volcano was explored by French academicians from the  French Geodesic Mission. Their mission was to determine the sphericity of the Earth. Their work along with another team in Lapland established that the Earth was an oblate spheroid rather than a true sphere. They did not reach the summit of Chimborazo.
In 1802, during his expedition to South America, Baron Alexander von Humboldt, accompanied by Aimé Bonpland and the Ecuadorian Carlos Montufar, tried to reach the summit. From his description of the mountain, it seems that before he and his companions had to return suffering from altitude sickness they reached a point at 5,875 m, higher than previously attained by any European in recorded history. (Incans had reached much higher altitudes previously; see Llullaillaco). In 1831, Jean-Baptiste Boussingault and Colonel Hall reached a new "highest point", estimated to be 6,006 m.
On 4 January 1880, the English climber Edward Whymper reached the summit of Chimborazo. The route that Whymper took up Chimborazo is now known as the Whymper route. Edward Whymper, and his Italian guides Louis Carrel and Jean-Antoine Carrel, were the first Europeans to summit a mountain higher than 20,000 feet. As there were many critics who doubted that Whymper had reached the summit, later in the same year he climbed to the summit again, choosing a different route (Pogyos) with the Ecuadorians David Beltrбn and Francisco Campaсa.

The painter 
Joaquín Pinto was an Ecuadorian painter, considered nowadays as one of the best painters of his country in 19th century. Pinto began drawing in his first years of school and  was taught art by Cipriano Borja and the famous Antonio Salas.  Pinto's family became poor following the 1853 death of his father. To earn money, Pinto began to give classes in culture, while continuing his art studies.
 In 1877, Pinto illustrated Federico González Suárez's book Estudio Histórico Sobre los Cañaris. Juan Manosalvas taught Pinto watercolor technique, though Pinto soon surpassed Manosalvas in talent. At the turn of the 20th century, his indigenous costumbrismo was popular both in Ecuador and abroad. His notable clients included Rogelio Bonnal and many politicians...
In 1903, Pinto taught in Cuenca's Escuela de Pintura. Beginning in 1904, he taught painting in Quito's Escuela de Bellas Artes. Pinto's notable paintings include "San Juan en su Visión Apocalíptica de la Virgen", "El Indio de la Magdalena",  "Entierro del Niño Indio", "El Chimborazo" (above) , "Cara-Ajos", and a portrait of his lifelong friend González Suárez.

THE BLACK TUSK PAINTED BY ROBERT GENN

 ROBERT GENN (1936-2014) 

The Black Tusk  (2,319m - 7,608ft) 

Canada (British Columbia) 

1. In An afternoon at Black Tusk, 1999, acrilyc on canvas, Assiniboia Gallery  

 2.  In The Black Tusk, 1995, oil on canvas 

The mountain 
The Black Tusk (2,319m- 7608ft) is a stratovolcano and a pinnacle of volcanic rock in Garibaldi Provincial Park of British Columbia, Canada, part of the part of the Garibaldi Volcanic Belt which is a segment of the Canadian Cascade Arc. The upper spire is visible from a great distance in all directions. It is particularly noticeable from the Sea-to-Sky Highway just south of Whistler, British Columbia. Distinctive and immediately identifiable, The Black Tusk is among the best known mountains in the Garibaldi Ranges of the Coast Mountains. To Squamish people, this mountain is known as "t'ak't'ak mu'yin tl'a in7in'a'xe7en". In their language it means "Landing Place of the Thunderbird" speaking of the supernatural "in7in'a'xe7en" or Thunderbird. The jagged shape of the mountain and its black colouring are said to come from the Thunderbird's lightning.

The painter 

Robert Douglas Genn  was a Canadian artist, who has gained recognition for his style, which is in the tradition of Canadian landscape painting.  Born in Victoria, British Columbia, Genn has often been compared with  members of  the 1920s Canadian Group of Seven.  In 1961, he met Lawren Harris who was a neighbour in Point Grey, Vancouver. Genn had problems with painting skies, and Harris's advice was to turn the picture upside-down: "Paint down from the trees to the clouds at the bottom of the picture to get the perspective right." Genn said this was "valuable advice", which enabled him "to control the gradation, and work up into the trees in a more abstract manner."
His work is in corporate and public collections, including Air Canada, Bank Of Montreal, Canadian General Insurance, Canadian Airlines, Canadian Utilities, The Churchill Corporation, Expo '86, Esso Resources, First City - California II, Highfield Oil & Gas, Molson Brewery Ltd., Montreal Trust, Shell Resources, University of Alberta, Westgate Chevrolet, Glenbow Museum and Government of Belgium.

He ran the Painter's Keys website, a worldwide artists' community, with his staff and volunteers. The web site sends out an erudite free twice-weekly newsletter, which is sent to 135,000 artists in over 100 countries, and claims the largest collection of art quotes online with over 5,382 authors quoted. 

In 2005, Genn campaigned against the Chinese website, arch-world.com, which was selling thousands of high-resolution images of around 2,800 artists' work illegally, without permission. After failing to gain support from the Canadian government or the African embassy in Ottawa, Genn used his web site to enlist subscribers' support to email objections to the arch-world, resulting within days in over 1,000 online complaints from artists, dealers and politicians to the company and governments. This stimulated a diplomatic protest letter to the Chinese Ministry of Commerce, Trading and Law Department from the Canadian Embassy in Beijing. Genn credited the campaign with the subsequent removal of images by 800 Canadian artists from arch-world, although many works were reinstated on arch-world soon after.

Genn has been a member of the Board of Directors at Emily Carr College of Art & Design.

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2018 - Wandering Vertexes...
by Francis Rousseau 

SZERNICA PAINTED BY CASPAR DAVID FREIDRICH

CASPAR DAVID FRIEDRICH (1774-1840)

Szrenica (1,362 m - 4,469 ft)

Poland - Czech Republic border

  In Landscape in the Riesengebirge, 1798, watercolor  

The mountain

Szrenica (1362 m a.s.l. German Reifträger) is a mountain peak situated in the western part of Karkonosze on Polish and Czech border within the Karkonosze National Park. Its name originates from the Polish word szron (frost). There is a weather station situated close to the summit. The peak is deforested, both the southern and the northern parts are used intensively for skiing. The elevation gain compared to the main range is approximately 60 m.  Szrenica Is part of the Giant Mountains range (Riesengebirge in german). 

The painter 
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".
Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip B. Miller, "half mad". As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterized its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect.  It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.

Friedrich was a prolific artist who produced more than 500 attributed works. In line with the Romantic ideals of his time, he intended his paintings to function as pure aesthetic statements, so he was cautious that the titles given to his work were not overly descriptive or evocative. It is likely that some of today's more literal titles, such as The Stages of Life, were not given by the artist himself, but were instead adopted during one of the revivals of interest in Friedrich. Complications arise when dating Friedrich's work, in part because he often did not directly name or date his canvases. He kept a carefully detailed notebook on his output, however, which has been used by scholars to tie paintings to their completion dates.

_______________________________
2018 - Wandering Vertexes...
by Francis Rousseau 

ULURU / AYERS ROCK BY DANNY EASTWOOD

DANNY EASTWOOD (bn. 1943) 

Uluru /Ayers Rock  (863m -2,831 ft)

 Australia  (Northern Territory)

The mountain 

Uluru (863m -2,831 ft) also known as Ayers Rock (in honour of the then Chief Secretary of South Australia, Sir Henry Ayers) is a large sandstone rock formation in the southern part of the Northern Territory in central Australia.   Officially  the rock is gazetted as "Uluru / Ayers Rock". 
It lies 335 km (208 mi) south west of the nearest large town, Alice Springs, 450 km (280 mi) by road.

Kata Tjuta and Uluru are the two major features of the Uluṟu-Kata Tjuṯa National Park. Uluru is sacred to the Pitjantjatjara Anangu, the Aboriginal people of the area. The area around the formation is home to an abundance of springs, waterholes, rock caves, and ancient paintings.  Both Uluru and the nearby Kata Tjuta formation have great cultural significance for the Aṉangu people, the traditional inhabitants of the area, who lead walking tours to inform visitors about the local flora and fauna, bush food and the Aboriginal dreamtime stories of the area.

Uluru is notable for appearing to change colour at different times of the day and year, most notably when it glows red at dawn and sunset.

Uluru is listed as a UNESCO World Heritage Site.

Uluru is an inselberg, literally "island mountain". An inselberg is a prominent isolated residual knob or hill that rises abruptly from and is surrounded by extensive and relatively flat erosion lowlands in a hot, dry region.  Uluru is also often referred to as a monolith, although this is a somewhat ambiguous term that is generally avoided by geologists. The remarkable feature of Uluru is its homogeneity and lack of jointing and parting at bedding surfaces, leading to the lack of development of scree slopes and soil. These characteristics led to its survival, while the surrounding rocks were eroded. For the purpose of mapping and describing the geological history of the area, geologists refer to the rock strata making up Uluru as the Mutitjulu Arkose, and it is one of many sedimentary formations filling the Amadeus Basin.

According to the Aṉangu, traditional landowners of Uluru: 

The world was once a featureless place. None of the places we know existed until creator beings, in the forms of people, plants and animals, traveled widely across the land. Then, in a process of creation and destruction, they formed the landscape as we know it today. Aṉangu land is still inhabited by the spirits of dozens of these ancestral creator beings which are referred to as Tjukuritja or Waparitja.

There are a number of differing accounts given, by outsiders, of Aboriginal ancestral stories for the origins of Uluru and its many cracks and fissures. One such account, taken from Robert Layton's (1989) Uluru: An Aboriginal history of Ayers Rock, reads as follows:

Uluru was built up during the creation period by two boys who played in the mud after rain. When they had finished their game they travelled south to Wiputa ... Fighting together, the two boys made their way to the table topped Mount Conner, on top of which their bodies are preserved as boulders. 

Two other accounts are given in Norbert Brockman's (1997) Encyclopedia of Sacred Places.

The first tells of serpent beings who waged many wars around Uluru, scarring the rock. The second tells of two tribes of ancestral spirits who were invited to a feast, but were distracted by the beautiful Sleepy Lizard Women and did not show up. In response, the angry hosts sang evil into a mud sculpture that came to life as the dingo. There followed a great battle, which ended in the deaths of the leaders of both tribes. The earth itself rose up in grief at the bloodshed, becoming Uluru.

The Commonwealth Department of Environment's webpage advises:

Many...Tjukurpa such as Kalaya (Emu), Liru (poisonous snake), Lungkata (blue tongue lizard), Luunpa (kingfisher) and Tjintir-tjintirpa (willie wagtail) travel through Uluṟu-Kata Tjuṯa National Park. Other Tjukurpa affect only one specific area.

Kuniya, the woma python, lived in the rocks at Uluru where she fought the Liru, the poisonous snake.

It is sometimes reported that those who take rocks from the formation will be cursed and suffer misfortune. There have been many instances where people who removed such rocks attempted to mail them back to various agencies in an attempt to remove the perceived curse.

The artist 

Danny Eastwood is a descendant of the Ngemba Tribe of Western NSW on his mothers side. Danny was born in Sydney and lived in the Eora Tribal area until he was thirteen. He now lives in the Dahrug Tribal area of Western Sydney.  Danny was NSW Aboriginal Artist of the year in 1992 & in 1993 won the National Aboriginal Artist of the year award. He has been commissioned by local councils in Sydney to create murals which can be seen in Southern Sydney and Parramatta. 

A cartoonist for the Koori male, Danny also teaches visual art in schools and prisons throughout N.S.W  Danny's totem is the Galah bird 'Gillawarna'. 

Danny's art can be found in major collections such as the Australian Maritime Museum, Sydney and Heritage Centre in Parramatta. 

Danny won the Parliament of New South Wales Indigenous Art Prize 2008 with his entry 'My Reconciliation', a pen, ink and watercolour work on paper, depicting a scene from the back lane he grew up in as a small boy in inner Sydney. There were many families of all colours that mixed together as friends and neighbours.

AMBA ALAGI BY DANIEL HAVELL

DANIEL HAVELL  (1785-1822)

Amba Alagi  (3,438 m -11,280 ft )

Ethiopia 

 In The Vale of Calaat , Ethiopia,  engraving 1800, Fine Arts Museums of San Francisco.

The mountain Amba Alagi is the one situated on extreme right of the engraving 

The mountain
Amba Alagi  (3,438 m -11,280 ft )is a mountain, or an Amba, in northern Ethiopia. Located in the Debubawi Zone of the Tigray Region, Amba Alagi dominates the roadway that runs past it from the city of Mek'ele south to Maychew. Because of its strategic location, Amba Alagi has been the location of several battles. As Anthony Mockler describes it,
It was [a] real amba, flat-topped, covered with crevices and canyons and caves, impregnable on the north and north-east where the Tug Gabat ran round its flanks through precipitous ravines, falling steeply away in the rear to the spur of Antalo, behind which lay the broad plain of Mahera.
Amba Alagi  (3,438 m -11,280 ft)is a mountain, or an amba, in northern Ethiopia. Located in the Debubawi Zone of the Tigray Region, Amba Alagi dominates the roadway that runs past it from the city of Mek'ele south to Maychew. Because of its strategic location, Amba Alagi has been the location of several battles. As Anthony Mockler describes it,
It was [a] real amba, flat-topped, covered with crevices and canyons and caves, impregnable on the north and north-east where the Tug Gabat ran round its flanks through precipitous ravines, falling steeply away in the rear to the spur of Antalo, behind which lay the broad plain of Mahera.

The artist
In older texts (and in the current Oxford Dictionary of National Biography), Daniel Havell is often claimed as the father of Robert (and sometimes of Luke as well); but more recent references generally place him as born in 1785, the son of Luke's brother Thomas, also a painter, who was born in 1762.  Daniel moved to London, and set up in partnership as an aquatint engraver with Robert Havell. Together they published aquatints of Twenty Four Views Taken in St. Helena (1809–10) after pictures by Henry Salt, and Twelve Picturesque Views of the River Thames (1812) from watercolours by William Havell. But the partnership did not last, and soon Daniel was working independently, including plates for Rudolph Ackermann's History of Cambridge (1815) and Ackermann's history of various Public Schools including Eton, Winchester and Rugby (1816), as well as a celebrated view of St Paul's Cathedral (1818) and various other London landmarks for Ackermann's Repository of Arts. Other subjects included topographical views of Devon, and of North Wales; and views of naval engagements. Havell's final work was for E.W. Brayley's Historical and descriptive accounts of the theatres of London (1826) "illustrated with a view of each theatre, elegantly coloured, drawn and engraved by the late Daniel Havell."
The Daniel Havell who was the son of Thomas Havell was baptised on 30 November 1786 at St Mary's, Reading; married Maria Wilmot on 5 June 1813 at St James's in Paddington; and was buried on 19 May 1822 at Kingston upon Thames, his occupation given as "artist".

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!

_______________________________
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.