PIZ ROSEG PAINTED BY JOHANNES SCHÜTZ

JOHANNES SCHÜTZ (1886-1953)
Piz Roseg (3,937 m -12,917 ft)
Switzerland - Italy border

In Piz Roseg and the Sellagruppe as seen from Fuorcla-Surlej, Graubunden, Switzerland. oil on canvas, 82 x 62cm, 1934, Courtesy John Mitchell Gallery

The mountain
Piz Roseg (3,937 m -12,917 ft)  is a mountain of the Bernina Range, overlooking the Val Roseg in the Swiss canton of Graubünden.There are two summits on its main ridge:
- the south-east and higher summit (3,937 m)
- the north-west summit, known as the Schneekuppe (3,920 m). There is also a prominent top on the east-north-east ridge, called the Roseg Pitschen (3,868 m) (Italian border).
The first ascent of the mountain to the Schneekuppe was by F. T. Bircham with guides Peter Jenny and Alexander Fleury on 31 August 1863. The highest point of the mountain was reached two years later by A. W. Moore and Horace Walker with guide Jakob Anderegg on 28 June 1865.
Piz Roseg is separated from the neighbouring Piz Scerscen by the Porta da Roseg (3,522 m), also called the Güssfeldtsattel. The Swiss side of this col – a steep ice slope of up to 70° – was first climbed by Paul Güssfeldt, with guides Hans Grass, Peter Jenny and Caspar Capat on 13 September 1872. Grass and Capat had spent the previous day cutting steps up the first two-fifths of the route. The following day they added at least another 450 steps on the first ascent.
The 700-metre north-east face of Piz Roseg was first climbed by Christian Klucker and L. Norman-Neruda on 16 July 1890; the face – with a notable serac band halfway up – sports a number of difficult routes. Klucker, together with M. Barberia, also made the first traverse from the Italian side of the Porta da Roseg on 21 June 1898.

The artist
Schütz is a academic Swiss painter, born in the Netherlands. He comes from a family of artists. He is reknown for having painted the Swiss and Italian Alps mountains. No biographical details are avalaible about him, even if his works appears quite often in auctions.

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2021- Wandering Vertexes...
by Francis Rousseau

MONT-BLANC DU TACUL PAINTED BY CESARE MAGGI

 

CESARE MAGGI (1881-1962)
Mont Blanc du Tacul (4,248m -13,937 ft)
France ( Haute-Savoie)

 In Mont Blanc du Tacul seen from the Glacier du Géant, Chamonix, France. oil on panel, 27 x 37cm, courtesy John Mitchell Gallery, London 

The mountain
Mont Blanc du Tacul (4,248m - 13,937 ft) is a mountain in the Mont Blanc massif of the French Alps situated midway between the Aiguille du Midi and Mont Blanc. The Mont Blanc du Tacul looks like a large, snow-covered trapezoid. It is part of the peaks of the Alps over 4,000 meters, of which it is the twenty-fourth highest. To the north of the summit is the Aiguille du Midi, from which it is separated by the Col du Midi (3,532 m), to the south the Mont Maudit, from which it is separated by the Col Maudit (4,035 m), at the is the Aiguilles du Diable then the Glacier du Géant and to the west the Aiguille de Saussure (3,839 m) then the Bossons glacier which rises to its summit. It has a secondary summit, the eastern summit (4,247 m), which is the exit from the Gervasutti pillar. The official first ascent of Mont Blanc du Tacul was by a guideless party comprising Charles Hudson, Edward John Stevenson, Christopher and James Grenville Smith, E. S. Kennedy, Charles Ainslie and G. C. Joad on 8 August 1855. However, Courmayeur guides may have already ascended the peak during their attempts in 1854 and 1855 to force a way up Mont Blanc from the Italian side.

The painter
The italian painter Cesare Maggi was born into a family of actors, Maggi embarked on classical studies at his father’s wish but also took up painting at a very early age His debut in Florence at the Esposizione Annuale della Società di Belle Arti di Firenze in 1898 was followed by a short trip to Paris to catch up with the latest developments.
The crucial turning point in Maggi’s art came in 1889 with the posthumous show of work by Giovanni Segantini held by the Milanese Society of Fine Arts, which prompted a definitive shift to landscape painting of a Divisionist character. After a short stay in the Engadin, he returned to Milan before finally settling in Turin. Commercial collaboration with Alberto Grubicy until 1913 enabled Maggi to establish himself quickly as one of the leading representatives of the second generation of Divisionist painters in Italy. He painted a repertoire of readily comprehensible mountain landscapes focusing primarily on aspects of the visual perception of the reflection of light and colour but lacking the deep spirituality of Segantini’s work. He took part in the major Italian and European exhibitions and the Venice Biennale devoted an entire room to his work at the Esposizione Internazionale d’Arte of Venice in 1912. After an interlude devoted to portrait painting in the same decade, the artist’s mature work focused on greater simplification of subject matter, mostly in landscapes.
Maggi obtained the chair in painting at the Albertina Academy, Turin, in 1936.



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2021- Wandering Vertexes...
by Francis Rousseau

BLACK MESA ( 2) PAINTED BY GEORGIA O'KEEFFE

 

 

GEORGIA O' KEEFFE (1887-1986)
Black Mesa (1,739 m - 5,705 ft)
United States of America (Colorado, New Mexico, and Oklahoma)

In Mesa and Road East, oil on canvas, 1952, Private collection

The mountain
Black Mesa (1,739 m - 5,705 feet) is a mesa in the U.S. states of Colorado, New Mexico, and Oklahoma. It extends from Mesa de Maya, Colorado southeasterly 28 miles (45 km) along the north bank of the Cimarron River, crossing the northeast corner of New Mexico to end at the confluence of the Cimarron River and Carrizo Creek near Kenton in the Oklahoma panhandle. Its highest elevation is in Colorado. The highest point of Black Mesa within New Mexico is 1,597 m - 5,239 feet. The plateau that formed at the top of the mesa has been known as a "geological wonder" of North America. There is abundant wildlife in this shortgrass prairie environment, including mountain lions, butterflies, and the Texas horned lizard. The plateau has been home to Plains Indians. In the late-nineteenth and early twentieth century the area was a hideout for outlaws such as William Coe and Black Jack Ketchum. The outlaws built a fort known as the Robbers' Roost. The stone fort housed a blacksmith shop, gun ports, and a piano. The present-day Oklahoma Panhandle area, which was then considered a no man's land, lacked law enforcement agencies and hence the outlaws found it safe to hide in the region. However, as new settlers arrived in the area for copper and coal mining and also for cattle ranching activities by grazing cattle in the mesa region, law enforcement became more effective, and the outlaws were brought under control.


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.

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2021 - Wandering Vertexes...
by Francis Rousseau 

VOLCÀN ORSONO PHOTOGRAPHED BY ROBERT GERSTMANN

 

ROBERT GERSTMANN (1896-1960)
Volcàn Orsono (2,652 m - 8700 ft)
Chile

in Lago Villarrica e Volcan Orsono, photo, 1932

The volcano
The Osorno is a stratovolcano located between the province of Osorno and that of Llanquihue, in the Lakes region of Chile. At an altitude of 2,652 meters, it is the most active volcano in the southern Chilean Andes.  It rises to the east of Lake Llanquihue, known worldwide as a symbol of the local landscape. The volcano also dominates Lake Todos los Santos. Its last eruption dates from 1869. Charles Darwin saw the Osorno from afar on his second voyage on HMS Beagle and witnessed its eruption1 in January 18352. Its first ascent was made in 1848 by Jean Renous.

The photographer
Robert Gerstmann was a photographer very famous in South America. Gerstmann was a Vienna born electrical engineer who, as a young man, developed an interest in photography. In 1924, he immigrated to Chile and from there traveled to Bolivia, where he made some 5000 photographs, a selection of which appear as photogravures in his Bolivia, 150 Grabados en Cobre (1928), which was reissued in 1996 by the Fundación Quipus in La Paz. Gerstmann ranged far, photographing the altiplano from La Paz south to the Argentine border, west to the Chilean border, and east to the Yungas, Cochabamba, Santa Cruz, and the lowlands along the Ríos Beni and Mamoré. Only Tarija and the Chaco escaped his lens. Five of his photographs illustrate Stewart E. McMillan's "The Heart of Aymara Land" National Geographic Magazine (February 1927), and several appear in Gustavo-Adolfo Otero's Bolivia (Guía Sinóptica) 1929. Gerstmann settled in Santiago in 1929. He published other photo albums, including Chile: 280 grabados en cobre (1932), Colombia: 200 grabados en cobre (1951), and Chile en 110 cuadros (1960?), and dabbled in film-making in Bolivia. He is thought to have died in Santiago ca. 1960. Several thousand of his glass plates are said to be at a university in Antofagasta. 

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2021 - Wandering Vertexes...
by Francis Rousseau

MONTE BURNEY BY ROBERT OLIVER CUNNINGHAM

ROBERT OLIVER CUNNINGHAM (1841-1918)
Monte Burney (1,758m - 5,768 ft)
Chile

In Monte Burney, engraving, 1871

The volcano
Monte Burney (1,758m - 5,768 ft) is a volcano in southern Chile, part of its Austral Volcanic Zone which consists of six volcanoes with activity during the Quaternary.  This volcanism is linked to the subduction of the Antarctic Plate beneath the South America Plate and the Scotia Plate. The volcano is named after James Burney, a companion of James Cook.  It is one of the many English language placenames in the region, which are the product of the numerous English research expeditions such as these by Robert FitzRoy and Phillip Parker King in 1825-1830.Monte Burney is formed by a caldera with a glaciated stratovolcano on its rim. This stratovolcano in turn has a smaller caldera. An eruption is reported for 1910, with less certain eruptions in 1970 and 1920.  Tephra analysis has yielded evidence for many eruptions during the Pleistocene and Holocene, including two large explosive eruptions during the early and mid-Holocene. These eruptions deposited significant tephra layers over Patagonia and Tierra del Fuego.

The naturalist
Robert Oliver Cunningham  was a Scottish naturalist. In January 1866 he was appointed Professor of Natural History in the Royal Agricultural College, Cirencester, but resigned in June in consequence of being appointed by the Admiralty to collect plants as naturalist on board HMS Nassau, ] then commissioned for the survey of the Straits of Magellan and the west coast of Patagonia.  This voyage started on 24 August 1866 from the Thames, and on 18 February 1967 she arrived in Port Stanley in the Falkland Islands to coal, departing again on 2 March, much to Cunningham's regret. They returned to the Falklands in 1868 enabling Cunningham to explore and study the plants and seaweeds on East Falkland returning a third time early in 1869.  The Nassau returned to England on 31 July 1869 but Cunningham remained employed by the Navy so that he could write up his natural history notes and his narrative of the voyage, this was published in 1871 as The Natural History of the Straits of Magellan.  In all, Cunningham published 18 scientific papers before 1872 his first which was about gannets was his theses but the others were mainly on his observations from voyage of the Nassau.  He presented some of these papers to the Zoological Society of London and to the Linnean Society, becoming a fellow of the latter in 1870.

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2021 - Wandering Vertexes...
by Francis Rousseau

 

THE STROMBOLI VOLCANO PAINTED BY ROBINET TESTARD (1480)

ROBINET TESTARD (fl. 1471-1531)
The Stromboli volcano (924 m -3,031 ft)
Italy (Island of Stromboli)

In "Les Iles Eoloiennes"  from  "Secrets de l'Histoire naturelle,  ca.1480-1485, BnF Paris

The mountain
Stromboli  is a small island in the Tyrrhenian Sea, off the north coast of Sicily, containing one of the three active volcanoes (924 m -3,031 ft) in Italy. It is one of the eight Aeolian Islands, a volcanic arc north of Sicily. This name is derived from the Ancient Greek name Strongulē which was given to it because of its round swelling form. The island's population is about 500. The volcano has erupted many times and is constantly active with minor eruptions, often visible from many points on the island and from the surrounding sea, giving rise to the island's nickname "Lighthouse of the Mediterranean". The most recent major eruption was on 13 April 2009. Stromboli stands 926 m (3,034 ft) above sea level, and over 2,700 m (8,860 ft) on average above the sea floor. There are three active craters at the peak. A significant geological feature of the volcano is the Sciara del Fuoco ("Stream of fire"), a big horseshoe-shaped depression generated in the last 13,000 years by several collapses on the northwestern side of the cone. Two kilometers to the northeast lies Strombolicchio, the volcanic plug remnant of the original volcano.
Mt. Stromboli has been in almost continuous eruption for the past 2,000 years. A pattern of eruption is maintained in which explosions occur at the summit craters, with mild to moderate eruptions of incandescent volcanic bombs, at intervals ranging from minutes to hours. This Strombolian eruption, as it is known, is also observed at other volcanoes worldwide. Eruptions from the summit craters typically result in a few short, mild, but energetic bursts, ranging up to a few hundred meters in height, containing ash, incandescent lava fragments and stone blocks. Stromboli's activity is almost exclusively explosive, but lava flows do occur at times when volcanic activity is high: an effusive eruption occurred in 2002, the first in 17 years, and again in 2003, 2007, and 2013–14. Volcanic gas emissions from this volcano are measured by a Multi-Component Gas Analyzer System, which detects pre-eruptive degassing of rising magma, improving prediction of volcanic activity.

The artist
Robinet Testard (fl. 1470–1531) was a French medieval enluminist and painter, whose works are difficult to attribute since none of them was signed or dated. He is known to have worked for the family of Charles, Count of Angoulême (1459–96) in Cognac, and made Valet de Chambre to the family in 1484. When the Count of Angoulême died in 1496, Testard accepted service with the Count's widow, Louise of Savoy, and is mentioned at the time of her death in 1531. Testard started his career in Poitiers.  His works include a page in Le  Missel de Poitiers, the Les Heures de La Rochefoucauld , and two other Books of Hours. His middle period, characterised by tight compositions and sharply defined colouring, is typified by his Roman de la Rose, the Nouailher Missal and the Book of Hours, probably painted for Charles, Count of Angoulême about 1480.  Surprisingly, 17 engravings by Israhel van Meckenem were included in the tome and coloured by Testard. He produced another Book of Hours, a copy of Dioskurides and mythological illustrations after Solinus and Pliny titled Les Secrets de l'histoire naturelle contenant les merveilles et choses memorables du monde (cf. above) . He also illustrated Matthaeus Platearius' "The Book of Simple Medicines".

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2021 - Wandering Vertexes...
by Francis Rousseau

MONTE EPOMEO PAINTED BY SIMON DENIS

 

SIMON DENIS (1755-1813)
Monte Epomeo (789 m - 2,589 ft)
Italy (Ischia Island)

 In Le sommet du mont Epomeo dans l'île d'Ischia, Oil on paper, Musée du Louvre, Paris

The mountain  

Monte Epomeo (789 m - 2,589 ft) is the highest mountain on the volcanic island of Ischia, in the Gulf of Naples, Italy. Epomeo is believed to be a volcanic horst which towers above the rest of Ischia. Much of Epomeo is covered in lush greenery, with a few vineyards also occupying its slopes. Approximately 75 m (246 ft) from the peak the mountain is covered in white lava which may be confused with snow. A path leads to the summit of the mountain from Fontana, one of its quiet traditional villages.

The painter
Simon-Joseph-Alexandre-Clément Denis was a Belgian painter active primarily in Italy. Denis first studied in his native city of Antwerp, with the landscape and animal painter H.-J. Antonissen.
He moved to Paris in the 1780s, and soon gained the patronage of genre painter and art dealer Jean-Baptiste Lebrun, whose support allowed him to move to Rome in 1786. His paintings there attracted favorable attention, and in 1787 he married a local woman. He remained close to the Flemish community in Rome, and in 1789 was elected to head the Foundation St.-Julien-des-Flamands. He also developed ties within the French artistic community; Élisabeth-Louise Vigée-Le Brun stayed with him for some days in 1789 and that same year he and she traveled with François-Guillaume Ménageot to visit Tivoli. François Marius Granet sought his advice when he arrived in Rome in 1802.
In 1803, he was elected to the Accademia di San Luca; in 1806 he settled for good in Naples, becoming court painter to Joseph Bonaparte. His wonderful Landscape near Rome during a Storm (1786–1806) an oil on paper probably representating Monte Cavo as well, is now visible at The MET in New York city.

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2021 - Wandering Vertexes...
by Francis Rousseau

THE DACHSTEIN PAINTED BY KONRAD PETRIDES

KONRAD PETRIDES (1864-1944)
Hoher Dachstein (2, 995m - 9, 826ft)
Austria  

In Dachstein mit Gosausee, 1899,  Private collection

The mountain  

The 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.
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.
Being the highest point of two different Bundesländer, the summit is a popular goal in both summer and winter. In fine weather as many as 100 climbers may be attempting the ascent, leading to congestion at key sections of the climb.

The artist
Konrad Petrides was a Viennese landscape and stage painter in the studio Hermann Burghart, where the painters Anton Brioschi, Josef Kautsky, Georg Jany and Leopold Rothaug also worked. He also painted many veduras, especially from Lower Austria and East Tyrol. Petrides was a member of the Dürer League, in whose exhibitions he participated and whose silver medal he received in 1919. In 1904 he also received the gold medal at the World's Fair in St. Louis, USA.

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2021 - Wandering Vertexes...
by Francis Rousseau

TOFANE PAINTED BY ELIJAH WALTON

 

ELIJAH WALTON (1832-1880)
Tofane (3,244 m  - 10,643 ft) 
Italy 

In Tofane as seen from near Cortina d'Ampezzo, Tyrol. 1866 , Birmingham Museum and Art Gallery

 

The mountain

 Tofane is a mountain group in the Dolomites of northern Italy, west of Cortina d'Ampezzo in the province of Belluno, Veneto. Most of the Tofane lies within Parco naturale delle Dolomiti d'Ampezzo, a nature park. The highest peaks of the Tofane group are Tofana di Mezzo (3,244 m -10,643 ft), Tofana di Dentro (3,238 m-10,623 ft), and Tofana di Rozes (3,225 m -10,581 ft). Tofana di Mezzo is the third highest peak in the Dolomites, after Marmolada (3,343 m -10,968 ft)) and Antelao (3,262 m -10,702 ft). All three peaks were first climbed by Paul Grohmann along with local mountain guides, in 1863 (Tofana di Mezzo - with Francesco Lacedelli), 1864 (Tofana di Rozes - with Francesco Lacedelli, Angelo Dimai and Santo Siorpaes) and 1865 (Tofana di Dentro - with Angelo Dimai).During the First World War, the Tofane was a battlefield of the Italian Front for clashes between the Italian and Austro-Hungarian forces. The front lines went through the mountains.At the 1956 Winter Olympics, Mount Tofane hosted five of the six alpine skiing events. It regularly hosts women's speed events on the World Cup circuit, and is scheduled to host the World Championships in 2021. The route is famous for the Tofana Schuss, where the athletes can reach 130 kilometers per hour.


The artist
The British landscapist, Elijah Walton is best known for his landscapes of mountains in the Alps.
Due to the poorness of his family, without the help of one or two friends he would have been unable to study art, for which his talent was soon exhibited. After passing some years at the art academy in Birmingham, he became at the age of eighteen a student at the Royal Academy Schools in London, where he had already exhibited a picture. There he worked assiduously, drawing from the antique and from life. Nearly ten years later an accidental circumstance revealed to a friend his capabilities in mountain landscape, and in 1860, immediately after his marriage, he went to Switzerland. Thence he proceeded to Egypt, where unhappily his wife died of dysentery near the second cataract. He remained in the east, spending some time in Syria and at Constantinople, till the spring of 1862, when he returned for a short time to London. But for the next five years he was much abroad, working either in the Alps or in Egypt. His sketching tours then became rarer and shorter, though he visited Greece, Norway, and the Alps. At first he resided at Staines, then removed to the neighbourhood of Bromsgrove, living most of the time at the Forelands, near that town. In 1872 his wife died, and the loss permanently affected his health. He died on 25 August 1880 at his residence Beacon Farm, Lickey near Bromsgrove in Worcestershire, leaving three sons. Walton's life was bound up in his art. He worked both in oils and in watercolours, but was more successful with the latter. Most thorough and conscientious in the study both of form and of colour, he delighted especially in mountain scenery and in atmospheric effects, such as an Alpine peak breaking through the mists, or a sunset on the Nile. Few men have equalled him in the truthful rendering of rock structure and mountain form. His pictures were much appreciated by lovers of nature; but as those of small size sold better than larger and more highly finished works, this fostered a tendency to mannerisms.

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2021 - Wandering Vertexes...
by Francis Rousseau

MOUNT HUBER PAINTED BY ROBERT GENN

ROBERT GENN (1936-2014)
Mount Huber (3,348 m - 10,984 ft)
Canada (British Columbia)

 In  Chinook over O' Hara, oil on canvas, 1970, Private collection  

The mountain
Mount Huber (3,348 m - 10,984 ft) summit located two kilometers east of Lake O'Hara in the Bow Range of Yoho National Park, in the Canadian Rockies of British Columbia, Canada. Its nearest higher peak is Mount Victoria, 1.0 km (0.62 mi) to the north-northeast. Mount Huber is a secondary summit of Mount Victoria which is on the Continental Divide. Named in 1903 by Samuel Allen for Emil Huber, a Swiss climber, who, with Carl Sulzer, were first to climb Mount Sir Donald in the Selkirk Mountains. The first ascent of the Mount Huber was made in 1903 by George Collier, E. Tewes, Christian Bohren, and Christian Kaufmann. The mountain's name became official in 1924 when approved by the Geographical Names Board of Canada. Mount Huber is composed of sedimentary rock laid down during the Precambrian to Jurassic periods. Formed in shallow seas, this sedimentary rock was pushed east and over the top of younger rock during the Laramide orogeny. Based on the Köppen climate classification, Mount Huber is located in a subarctic climate with cold, snowy winters, and mild summers ] Temperatures can drop below −20 °C with wind chill factors below −30 °C. Precipitation runoff from Mount Huber drains into tributaries of the Kicking Horse River which is a tributary of the Columbia River.

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. 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.
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."
He ran the Painter's Keys web site, 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.
Genn announced in his Twice-Weekly Letter of 25 October 2013 that he had been diagnosed with pancreatic cancer. He died at his Surrey, British Columbia home on 27 May 2014.

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2021 - Wandering Vertexes...
by Francis Rousseau 

 

THE GRAND TETON (3) PAINTED BY EVE DREWELOWE

 

EVE DREWELOWE (1899-1988)

Grand Teton  (4,199 m - 13,775 ft)

United States of America (Wyoming)

In Sunlit sumit (Grand Teton) watercolor, 1949- Collection Kirkland, Museum of Fine & Decorative Art.

 
About this painting
This watercolor is a variation painted almost 10 years after a first watercolor dating from the 1930s, in exactly the same place but in a different season, in warmer colors and, as we can see, on a day when the sun appeared between the clouds.

The mountain
Grand Teton (4,199 m - 13,775 ft) is the highest mountain in Grand Teton National Park in Northwest Wyoming, and a classic destination in American mountaineering. It is the highest point of the Teton Range, and the second highest peak in the U.S. state of Wyoming after Gannett Peak. The mountain is entirely within the Snake River drainage basin, which it feeds by several local creeks and glaciers.The Teton Range is a subrange of the Rocky Mountains, which extend from southern Alaska to northern New Mexico.
Grand Teton's name was first recorded as Mount Hayden by the Washburn-Langford-Doane Expedition of 1870. However, the name "the Grand Teton" had early currency. The Edition of April, 1901 of the USGS 1:125,000 quadrangle map of the area shows "Grand Teton" as the name of the peak. A United States National Park named "Grand Teton National Park" was established by law in 1929. By 1931, the name Grand Teton Peak was in such common usage that it was recognized by the USGS Board on Geographic Names. Another shift in usage led the Board to shorten the name on maps to Grand Teton in 1970. The origin of the name is disputed. The most common explanation is that "Grand Teton" means "large teat" in French, named by either French-Canadian or Iroquois members of an expedition led by Donald McKenzie of the North West Company. However, other historians disagree, and claim that the mountain was named after the Teton Sioux tribe of Native Americans.

The painter
Eve Drewelowe was an American painter. Her career spanned six decades and produced more than 1,000 works of art in oil, watercolor, pen and ink and other media in styles that included impressionism, social realism and abstraction.
Despite dabbling with other artistic styles, Drewelowe always showed an inclination toward landscapes. She once said: “my waking thought from an embryo on was my need to be an artist.”
Though never known to have used the word to describe herself, Eve Drewelowe is often considered a feminist artist. Her personal life exhibited feminist themes: the artist retained her maiden name and publicly stated a disinterest in housework and parenting. Drewelowe chose not to take her husband’s last name because in her opinion it should not matter to others whether she is married or not. When Drewelowe and Van Ek returned from their travels and started building a house together. She did not want to be involved in the pleasantries of being the dean’s wife, especially hosting dinner parties, so she specified to have the house built lacking a dining room. She always maintained that she did not want to have children of her own, much to her mother’s dismay.
Although Drewelowe is mainly renowned in Colorado and Iowa, she had solo exhibitions all over the country. Her work was shown at National Association of Women Artists exhibitions, the Art Institute of Chicago, the Denver Art Museum, the National Museum of Women in the Arts and numerous other esteemed institutions. Although women had been in the profession of art for 20–30 years at the beginning of Drewelowe’s career, she still faced opposition and sexism. Critics believe that she could have been much more acclaimed had she not been a woman and had she not fallen ill at the peak of her career. Others believe that her “reincarnation” and transition to abstract paintings increased Drewelowe’s popularity as an artist by keeping her relevant in an evolving artistic world.

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2021 - Wandering Vertexes...
by Francis Rousseau
 

CHENOUA PAINTED BY MARIUS DE BUZON

MARIUS DE BUZON (1879-1958)
Chenoua (905 m- 2969 ft)
Algeria

In La Côte d'Alger aux Environs de Tipiza, oil on canvas, 1951, Private collection

The mountain
The Chenoua (905 m- 2969ft) in Berber: Adrar n Cenwa) is a mountain located in the region of Tipaza, in the north of Algeria. The massif of Mount Chenoua is, in the west, the highest point of the hills of the Algiers Sahel. It is surrounded to the east by Wadi Nador, Tipaza river and to the west by Wadi El Hachem, Cherchell river. By joining the sea, the Chenoua forms an alternation of cliffs and beaches, visible from the panoramic road that runs along the Mediterranean. The Chenoua corniche, which stretches as far as Cherchell (Caesarea), is home to small picturesque beaches. Cape Chenoua or Ras el Amouch offers a view of the bay and a walk in the caves of the cliff. Marble is taken from the Chenoua quarries. The novels by Albert Camus : "La mort heureuse"  and "Noces " are partly set in  the Chenoua.

The painter
Marius de Buzon is a French painter of the school of Algiers of Spanish ancestry, descendant of Francisco de Goya. In 1939, the well known french journalist and writer Max-Pol Fouchet said about him in Algeria : "The praise of M. de Buzon seems to me useless to do. We know the serious and powerful art of this painter, but he also knows how to release on his canvases a Corotian tenderness before such a French landscape. He moves only more." While according to Victor Barrucand, "he highlighted the essential lines of the landscapes, sculpting large swathes of the Kabyles valleys " .
He is knighted by the Legion of Honor.
He is considered, and quoted, as the "cantor of Kabylie" and one of the founders of the School of Algiers (following Maxime Noiré, and with Léon Carré, Léon Cauvy, Paul Jouve). He also paints landscapes and types of the region of Bougie, the Mzab (where he is one of the first painters to enter, after Étienne Dinet, with Maurice Bouviolle, Touggourt where he regularly stays after 1945 (L'Heure Blonde, 1950), Témacine (1953), and Sidi Bou Saïd, or Spain and Morocco, Casablanca, Rabat or Fez.
His works are highly sought after by collectors as representing scenes of Kabyle life, landscapes, pastoral scenes; "He substitutes for the notion of ethnic identification, that infinitely more poetic allegory " wrote Élisabeth Cazenave, while in 1930 Pierre Angel : "Marius de Buzon continued on these African shores the ancient dreams of the pagan mysticism. "
Marius de Buzon died at the end of November 1958 in Algiers; his son Jean and grandson Jean-Frédéric were murdered in 1962 while trying to move and save the workshop of their father and grandfather.

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2021 - Wandering Vertexes...
by Francis Rousseau

MOUNT EREBUS BY EDWARD ADRIAN WILSON

EDWARD ADRIAN WILSON (1872-1912)
Mount Erebus (3, 794 m - 12, 448ft)
Antarctica (Ross Island)

In Mount Erebus, 1906, watercolour, Royal Geographical Society Museum, London

The mountain
Mount Erebus (3, 794 m - 12, 448ft), not to be confused with Mount Elbrus is the second-highest volcano in Antarctica (after Mount Sidley) and the southernmost active volcano on Earth. It is the sixth highest ultra mountain on an island, located on Ross Island, which is also home to three inactive volcanoes: Mount Terror, Mount Bird, and Mount Terra Nova.
The volcano has been active since c. 1.3 million years ago and is the site of the Mount Erebus Volcano Observatory run by the New Mexico Institute of Mining and Technology.
Mount Erebus was discovered on January 27, 1841 (and observed to be in eruption) by polar explorer Sir James Clark Ross who named it and its companion, Mount Terror, after his ships, Erebus and Terror (which were later used by Sir John Franklin on his disastrous Arctic expedition). Erebus is a dark region in Hades in Greek mythology. Present with Ross on the Erebus was the young Joseph Hooker, future president of the Royal Society and close friend of Charles Darwin. Erebus was an Ancient Greek primordial deity of darkness, the son of Chaos.
Mount Erebus is classified as a polygenetic stratovolcano. The bottom half of the volcano is a shield and the top half is a stratocone. The composition of the current eruptive products of Erebus is anorthoclase-porphyritic tephritic phonolite and phonolite, which are the bulk of exposed lava flow on the volcano. Erebus is the world's only presently erupting phonolite volcano.
Researchers spent more than three months during the 2007–08 field season installing an unusually dense array of seismometers around Mount Erebus to listen to waves of energy generated by small, controlled blasts from explosives they buried along its flanks and perimeter and to record scattered seismic signals generated by lava lake eruptions and local ice quakes. By studying the refracted and scattered seismic waves, the scientists produced an image of the uppermost (top few km) of the volcano to understand the geometry of its "plumbing" and how the magma rises to the lava lake. These results demonstrated a complex upper-volcano conduit system with appreciable upper-volcano magma storage to the northwest of the lava lake at depths hundreds of meters below the surface.


The artist
Edward Adrian Wilson, nicknamed "Uncle Bill" was an English physician, polar explorer, natural historian, painter and ornithologist. Wilson took part in two British expeditions to Antarctica, the Discovery Expedition (1901-1904) and the tragic Terra Nova Expedition (1907-1912), both under the leadership of Scott.
Dr. Edward A. Wilson is widely regarded as one of the finest artists ever to have worked in the Antarctic. Sailing with Captain Scott aboard 'Discovery' (1901-1904), he became the last in a long tradition of 'exploration artists' from an age when pencil and water-colour were the main methods of producing accurate scientific records of new lands and animal species. He combined scientific, topographical and landscape techniques to produce accurate and beautiful images of the last unknown continent. Such was the strength of his work that it also helped to found the tradition of modern wildlife painting. In particular Wilson captured the essence of the flight and motion of Southern Ocean sea-birds on paper.
Returning with Captain Scott aboard 'Terra Nova' (1910-1913) as Chief of Scientific Staff, he continued to record the continent and its wildlife with extraordinary deftness. Chosen to accompany Captain Scott to the South Pole, his last drawings are from one of the most famous epic journeys in exploration history. Along with his scientific work, Wilson's pencil recorded the finding of Roald Amundsen's tent at the South Pole by Captain Scott. Wilson died, along with the other members of the British Pole Party, during the return journey, in March 1912. The drawings and paintings were created at considerable personal cost in the freezing conditions in which Wilson worked. He often suffered severely from the cold whilst sketching and also from snow-blindness, or sunburn of the eye. They provide a remarkable testament to one of the great figures of the heroic age of Antarctic exploration. The book has been produced as a companion volume to 'Edward Wilson's Nature Notebooks' by two of Wilson's great nephews, to mark the centenary of his death.


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2021 - Wandering Vertexes..
Un blog de Francis Rousseau

UNDOOLYA PAINTED BY ALBERT NAMATJIRA

 

ALBERT NAMATJIRA (1902-1959)

Undoolya (794 m - 2,606 ft)

Australia (Northern Territory) 

 In  Undoolyia range, watercolor, 1947

The mountain
Undoolya or Mount Undoolya (794 m- 2,606 ft) is located in the MacDonnell region and the Northern Territory state, in the central part of Australia, 1,900 km north-west of Canberra is the nation's headline. The ground around Mount Undoolya is usually flat, but on the east it is the hills. The surrounding area has an altitude of 871 meters and 14.8 km north of Mount Undoolya. Nor more than 2 people per square kilometer around Mount Undoolya. No city around. Mount Undoolya is surrounded by lakes. The climate is warm.


The Painter
Albert Namatjira born Elea Namatjira, was a Western Arrernte-speaking Aboriginal artist from the MacDonnell Ranges in Central Australia. As a pioneer of contemporary Indigenous Australian art, he was the most famous Indigenous Australian of his generation.
Born and raised at the Hermannsburg Lutheran Mission outside Alice Springs, Namatjira showed interest in art from an early age, but it was not until 1934 (aged 32), under the tutelage of Rex Battarbee, that he began to paint seriously. Namatjira's richly detailed, Western art-influenced watercolours of the outback departed significantly from the abstract designs and symbols of traditional Aboriginal art, and inspired the Hermannsburg School of painting. He became a household name in Australia—indeed, reproductions of his works hung in many homes throughout the nation—and he was publicly regarded as a model Aborigine who had succeeded in mainstream society.
Although not the first Aboriginal artist to work in a European style, Albert Namatjira is certainly the most famous. Ghost gums with luminous white trunks, palm-filled gorges and red mountain ranges turning purple at dusk are the hallmarks of the Hermannsburg school. Hermannsburg Mission was established by Lutheran missionaries in 1877 on the banks of the Finke River, west of Mparntwe (Alice Springs). Namatjira learnt watercolour technique from the artist, Rex Battarbee.


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2021 - Wandering Vertexes...
by Francis Rousseau

KANGCHENJUNGA PAINTED BY GAGANENDRANATH TAGORE

 

GAGANENDRANATH  TAGORE  (1867-1938)
Kangchenjunga (8, 538m - 28,169 ft)
India, Népal

In Kangchenjunga, watercolor,  National Gallery of Modern Art, New Delhi

The painter
Gaganendranath Tagore was an Indian painter and cartoonist of the Bengal school. Along with his brother Abanindranath Tagore, he was counted as one of the earliest modern artists in India. Gaganendranath Tagore was born at Jorasanko into a family whose creativity defined Bengal's cultural life. Gaganendranath was the eldest son of Gunendranath Tagore, grandson of Girindranath Tagore and a great-grandson of Prince Dwarkanath Tagore. His brother Abanindranath was a pioneer and leading exponent of the Bengal School of Art. He was a nephew of the poet Rabindranath Tagore and the paternal great-grandfather of actress Sharmila Tagore. Gaganendranath received no formal education but trained under the watercolourist Harinarayan Bandopadhyay. In 1907, along with his brother Abanindranath, he founded the Indian Society of Oriental Art which later published the influential journal Rupam. Between 1906 and 1910, the artist studied and assimilated Japanese brush techniques and the influence of Far Eastern art into his own work, as demonstrated by his illustrations for Rabindranath Tagore's autobiography Jeevansmriti (1912). He went on to develop his own approach in his Chaitanya and Pilgrim series. Gaganendranath eventually abandoned the revivalism of the Bengal School and took up caricature. The Modern Review published many of his cartoons in 1917. From 1917 onwards, his satirical lithographs appeared in a series of books, including Play of Opposites, Realm of the Absurd and Reform Screams.
Between 1920 and 1925, Gaganendranath pioneered experiments in modernist painting.  Partha Mitter describes him as "the only Indian painter before the 1940s who made use of the language and syntax of Cubism in his painting". From 1925 onwards, the artist developed a complex post-cubist style.

The mountain
Kangchenjunga (8,586 m - 28,169 ft) is the third highest mountain in the world. It lies partly in Nepal and partly in Sikkim, India. Kangchenjunga is the second highest mountain of the Himalayas after Mount Everest. Three of the five peaks – Main, Central and South – are on the border between North Sikkim and Nepal. Two peaks are in the Taplejung District, Nepal.
Kangchenjunga Main is the highest mountain in India, and the easternmost of the mountains higher than 8,000 m (26,000 ft).
Until 1852, Kangchenjunga was assumed to be the highest mountain in the world, but calculations based on various readings and measurements made by the Great Trigonometrical Survey of India in 1849 came to the conclusion that Mount Everest., known as Peak XV at the time, was the highest.
It is listed int the Eight Thousanders and as Seven Third Summits
Kangchenjunga is the official spelling adopted by Douglas Freshfield, A. M. Kellas, and the Royal Geographical Society that gives the best indication of the Tibetan pronunciation. Freshfield referred to the spelling used by the Indian Government since the late 19th century. There are a number of alternative spellings including Kangchendzцnga, Khangchendzonga, and Kanchenjunga.
Local Lhopo people believe that the treasures are hidden but reveal to the devout when the world is in peril; the treasures comprise salt, gold, turquoise and precious stones, sacred scriptures, invincible armor or ammunition, grain and medicine. Kangchenjunga's name in the Limbu language is Senjelungma or Seseylungma, and is believed to be an abode of the omnipotent goddess Yuma Sammang.
It rises in a section of the Himalayas called Kangchenjunga Himal that is limited in the west by the Tamur River, in the north by the Lhonak Chu and Jongsang La, and in the east by the Teesta River. It lies about 128 km (80 mi) east of Mount Everest.
Allowing for further verification of all calculations, it was officially announced in 1856 that
Kangchenjunga was first climbed on 25 May 1955 by Joe Brown and George Band, who were part of a British expedition. They stopped short of the summit as per the promise given to the Chogyal that the top of the mountain would remain inviolate. Every climber or climbing group that has reached the summit has followed this tradition...

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2021 - Wandering Vertexes...
by Francis Rousseau

ELYSIUM MONS BY NASA VIKING PROGRAM (1975-1982)

NASA VIKING PROGRAM (1975-1982)
Elysium Mons (13, 900m / 13, 9km - 46,000 ft / 8,6 mi)
MARS

Image from camera B (541A44, 541A46). Red filter used . Resolution is about 144 m/pixel. 

Approximate north is at top. taken on 10 December 1977, USGS Astrogeology Science Center 

The Mountain
Elysium Mons (13,900m / 13, 9km - 46,000 ft / 8,6 mi) is a volcano on Mars located in the volcanic province Elysium, at 25.02°N 147.21°E, in the Martian eastern hemisphere. It stands about above the surrounding lava plains, and about 16 km (52,000 ft) above the Martian datum. Its diameter is about 240 km (150 mi), with a summit caldera about 14 km (8.7 mi) across. It is flanked by the smaller volcanoes Hecates Tholus to the northeast, and Albor Tholus to the southeast.
A 6.5 km diameter crater at 29.674 N, 130.799 E, in the volcanic plains to the northwest of Elysium Mons has been identified as a possible source for the nakhlite meteorites, a family of similar basaltic Martian meteorites with cosmogenic ages of about 10.7 Ma, suggesting ejection from Mars by a single impact event. This implies that Martian volcanism had slowed greatly by that point in history.


The Mission
NASA Viking Orbiter 1 was the first of two spacecraft (along with Viking 2) sent to Mars as part of NASA's Viking program. On July 20, 1976, it became the second spacecraft to soft-land on Mars, and the first to successfully perform its mission. (The first spacecraft to soft-land on Mars was the Soviet Union's Mars 3 on December 2, 1971, which stopped transmitting after 14.5 seconds.) Viking 1 held the record for the longest Mars surface mission of 2307 days (over 6​1⁄4 years) or 2245 Martian solar days, until that record was broken by the Opportunity rover on May 19, 2010. Following launch using a Titan/Centaur launch vehicle on August 20, 1975, and an 11-month cruise to Mars, the orbiter began returning global images of Mars about 5 days before orbit insertion. The Viking 1 Orbiter was inserted into Mars orbit on June 19, 1976, and trimmed to a 1513 x 33,000 km, 24.66 h site certification orbit on June 21. Landing on Mars was planned for July 4, 1976, the United States Bicentennial, but imaging of the primary landing site showed it was too rough for a safe landing. The landing was delayed until a safer site was found, and took place instead on July 20, the seventh anniversary of the Apollo 11 Moon landing. The lander separated from the orbiter at 08:51 UTC and landed at Chryse Planitia at 11:53:06 UTC. It was the first attempt by the United States at landing on Mars.
The instruments of the orbiter consisted of two vidicon cameras for imaging (VIS), an infrared spectrometer for water vapor mapping (MAWD) and infrared radiometers for thermal mapping (IRTM). The orbiter primary mission ended at the beginning of solar conjunction on November 5, 1976.
The extended mission commenced on December 14, 1976, after solar conjunction. Operations included close approaches to Phobos in February 1977. The periapsis was reduced to 300 km on March 11, 1977. Minor orbit adjustments were done occasionally over the course of the mission, primarily to change the walk rate — the rate at which the areocentric longitude changed with each orbit, and the periapsis was raised to 357 km on July 20, 1979. On August 7, 1980, Viking 1 Orbiter was running low on attitude control gas and its orbit was raised from 357 × 33943 km to 320 × 56000 km to prevent impact with Mars and possible contamination until the year 2019. Operations were terminated on August 17, 1980, after 1485 orbits. A 2009 analysis concluded that, while the possibility that Viking 1 had impacted Mars could not be ruled out, it was most likely still in orbit. More than 57,000 images were sent back to Earth. 

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2021 - Wandering Vertexes...
by Francis Rousseau

FUJIYAMA / 富士山 (n°13) BY KATSUSHIKA HOKUSAÏ

 

 

KATSUSHIKA HOKUSAÏ (1760-1849)
Fujiyama / 富士山 (3,776.24 m -12,389 ft)
Japan

In Fujiyama from the Village of Sekiya at Sumida river,
n °13 from the series 36 Views of Mt. Fuji, 1830-32,
Edo Tokyo Museum, Japan

About the 36 Views of Mt Fuji
Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjūrokkei) is a series of landscape prints　created by the Japanese ukiyo-e artist Hokusai (1760?1849). The series depicts Mount Fuji from different locations and in various seasons and weather conditions. The original thirty-six prints were so popular that Hokusai expanded the series by ten.
The earliest impressions appear faded when compared to the versions usually seen, but are closer to Hokusai's original conception. The original prints have a deliberately uneven blue sky, which increases the sky's brightness and gives movement to the clouds. The peak is brought forward with a halo of Prussian blue. Subsequent prints have a strong, even blue tone and the printer added a new block, overprinting the white clouds on the horizon with light blue. Later prints also typically employ a strong benigara (Bengal red) pigment, which lent the painting its common name of Red Fuji. The green block colour was recut, lowering the meeting point between forest and mountain slope.

The artist
Katsushika Hokusai (葛飾 北斎) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He was influenced by such painters as Sesshu, and other styles of Chinese painting. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 c. 1831) which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s.
Hokusai created the "Thirty-Six Views of Mt Fuji " both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. In this series, Mt Fuji is painted on different meteorological conditions, in different hours of the days, in different seasons and from different places.

The mountain
This is the legendary Mount Fuji or Fujiyama (富士山).
It is located on Honshu Island and is the highest mountain peak in Japan at 3,776.24 m (12,389 ft). Several names are attributed to it: "Fuji-san", "Fujiyama" or, redundantly, "Mt. Fujiyama". Usually Japanese speakers refer to the mountain as "Fuji-san". The other Japanese names for Mount Fuji, have become obsolete or poetic like: Fuji-no-Yama (ふじの山 - The Mountain of Fuji), Fuji-no-Takane (ふじの高嶺- The High Peak of Fuji), Fuyō-hō (芙蓉峰 - The Lotus Peak), and Fugaku (富岳／富嶽), created by combining the first character of 富士, Fuji, and 岳, mountain.
Mount Fuji is an active stratovolcano that last erupted in 1707–08. Mount Fuji lies about 100 kilometres (60 mi) south-west of Tokyo, and can be seen from there on a clear day.
Mount Fuji's exceptionally symmetrical cone, which is snow-capped several months a year, is a well-known symbol of Japan and it is frequently depicted in art and photographs, as well as visited by sightseers and climbers.
Mount Fuji is one of Japan's Three Holy Mountains (三霊山) along with Mount Tate and Mount Haku. It is also a Special Place of Scenic Beauty and one of Japan's Historic Sites.
It was added to the World Heritage List as a Cultural Site on June 22, 2013. As per UNESCO, Mount Fuji has “inspired artists and poets and been the object of pilgrimage for centuries”. UNESCO recognizes 25 sites of cultural interest within the Mt. Fuji locality. These 25 locations include the mountain itself, Fujisan Hongū Sengen Shrine and six other Sengen shrines, two lodging houses, Lake Yamanaka, Lake Kawaguchi, the eight Oshino Hakkai hot springs, two lava tree molds, the remains of the Fuji-kō cult in the Hitoana cave, Shiraito Falls, and Miho no Matsubara pine tree grove; while on the low alps of Mount Fuji lies the Taisekiji temple complex, where the central base headquarters of Nichiren Shoshu Buddhism is located.


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2021 - Wandering Vertexes...
by Francis Rousseau

THE DENTELLES DE MONTMIRAIL PAINTED BY A. G. CARRICK / H.M KING CHARLES III

 

 

A. G. CARRICK / H.M KING CHARLES III former PRINCE OF WALES (bn.1948)
Les Dentelles de Montmirail (734m - 2,400 ft)
France (Vaucluse)

In Les Dentelles de Montmirail from Le Barroux, watercolor, Priaate coillection

The mountains
The Dentelles de Montmirail (734 m - are a small chain of mountains in Provence in France, in the département of Vaucluse, located just to the south of the village of Vaison-la-Romaine. They are foothills of the highest peak in Provence, Mont Ventoux, which is situated just to the east. The dramatically jagged shape of their peaks was formed by horizontal strata of Jurassic limestone being folded and forced into a nearly upright position and subsequently eroded into sharp-edged ridges and spikes. The highest peak of the Dentelles is St-Amand, at 734 m (2,400 ft). The range, which is about 8 km wide, offers over 600 trails for walking, rock climbing, and mountain biking.]The foot of the Dentelles is surrounded by vineyards of the Rhône Valley. Their name Dentelles, the French word for "lace," refers to their shape obtained by erosion, while Montmirail is derived from the Latin mons mirabilis meaning 'admirable mountain'.
Located on the territory of the communes of Beaumes-de-Venise, Crestet, Gigondas, La Roque-Alric, Lafare, Le Barroux, Malaucène, Suzette, and Vacqueyras; the Dentelles de Montmirail were an important natural frontier during Antiquity between the tribes of the Memini in the south, and the Voconces in the north. 

The painter
Arthur George Carrick is actually H.M. the King Charles III, former Prince of Wales.
When he began showing his paintings, he was too nervous to display his name so displayed under a pseudonym. Arthur George are two of his names (Charles Phillip Arthur George) and one of his titles is Earl of Carrick. King Charles III is an experienced watercolourist.  He has been painting for most of his adult life, during holidays or when his official diary allows. King Charles' interest began during the 1970s and 1980s when he was inspired by Robert Waddell, who had been his art master at Gordonstoun in Scotland. In time, King Charles met leading artists such as Edward Seago, with whom he discussed watercolour technique, and received further tuition from John Ward, Bryan Organ and Derek Hill.
The Royal Family has a tradition of drawing and painting, and King Charles’ work first came to public notice at a 1977 exhibition at Windsor Castle at which other Royal artists included Queen Victoria, The Duke of Edinburgh and The Duke of York.
King Charles paints in the open air, often finishing a picture in one go and his favourite locations include The Queen's estate at Balmoral in Scotland and Sandringham House in Norfolk, England. Sometimes King Charles  III paints during his skiing holidays, and during overseas tours when possible.
The copyright of King Charles' watercolours belongs to A. G. Carrick Ltd, a trading arm of The King's Charities Foundation. Over the years King Charles III has agreed to exhibitions of his watercolours and of lithographs made from them, on the understanding that any income they generate goes to The Prince of Wales's Charitable Foundation.
Money from the sale of the lithographs also goes to the Foundation but the paintings themselves are never for sale.
In the 1980s King Charles III, then Prince of Wales,  began inviting young British artists to accompany him on official tours overseas and record their impressions, a tradition that has continued to this day.
Reference :
- The prince of Wales paintings 

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2021 - Wandering Vertexes...
by Francis Rousseau

THE SWARTBERG PAINTED BY TINUS DE JONGH

 

TINUS DE JONGH (1855-1942)
The Swartberg (2,325m-7,628 ft)
South Africa (Western Cape)

In Meiringspoort, oil on canvas, 1935, Private collection

The mountains and pass
The Swartberg mountains (2,325m-7,628 ft), meaning black mountain in Afrikaans, are a mountain range in the Western Cape province of South Africa. It is composed of two main mountain chains running roughly east–west along the northern edge of the semi-arid Little Karoo. To the north of the range lies the other large semi-arid area in South Africa, the Great Karoo. Most of the Swartberg Mountains are above 2000 m high, making them the tallest mountains in the Western Cape. It is also one of the longest, spanning some 230 km from south of Laingsburg in the west to between Willowmore and Uniondale in the east. Geologically, these mountains are part of the Cape Fold Belt.
Meiringspoort (750m-2,460 ft) is a pass trough the Swartberg range of mountains, Until the first pass was cut, these mountains were virtually insurmountable, The pass was cut in 1858 and the route completed in only 223 working days, comprising one of the era's most extraordinary feats of engineering. It was also a huge economic step for the interior of the Cape Colony. For example, by 1870, an eighth of the country's wool exports passed through the Meiringspoort.
The Meiringspoort provides paved road transit through the Swartberg range, using the route largely carved by a river. The poort connects the town of De Rust in the south, with the town of Klaarstroom in the north. It also offers a spectacular drive through incredible rock formations, (as depicted in the painting above) and is the setting for an annual half marathon that ends in the town of De Rust. Modern additions mean several different passes now cut different routes through the range.

The artist
Martinus Johannes "Tinus" de Jongh was one of South Africa's most popular painters.
Self-taught, he began his career as a decorator in the Netherlands where he was born, and then pursued painting full-time. He achieved some note when the Stedelijk Museum in Amsterdam purchased one of his early pictures. He arrived in South Africa in 1921, practicing a sober style within the Dutch tradition, typified there by Still Life with Birds and Hare. The light and landscape of South Africa soon caused him to abandon his muted palette in favour of more saturated colours (as seen above). His formulaic approach to painting Cape landscapes with gabled farmhouses created such a demand that he abandoned his considered brushwork in favour of a broader palette knife technique. His etchings sold in the hundreds through his dealer Louis Woolf. 

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2021 - Wandering Vertexes...
by Francis Rousseau

DEDO DE DEUS PAINTED BY ELISEU VISCONTI

ELISEU VISCONTI (1866-1944)
Dedo de Deus (1,682m - 5,551ft)
Brazil

The mountain
Dedo de Deus (The Finger of God) (1,682m - 5,551ft) is a peck whose outline resembles a hand pointing the index finger to the sky. It is one of the several geological monuments of Serra dos Órgãos which is located in Serra do Mar, between the cities of Petrópolis, Guapimirim and Teresópolis, in the state of Rio de Janeiro, in Brazil. The mountaineering in Brazil is closely linked to the achievement of the Dedo de deus. The peak is a state symbol Rio de Janeiro, appearing on its flag and coat of arms. As for the coat of arms of the State of Rio de Janeiro, the first section, occupying the upper half, is blue, representing the sky and symbolizing justice, truth and loyalty, with the silhouette of the Serra dos Órgãos, highlighting the Dedo de Deus.  The symbol was created by the 1892 State Constitution and made official under the government of José Tomás da Porciúncula, with small differences over time.  In 1912, José Guimarães Teixeira, Raul Carneiro and the brothers Américo, Alexandre and Acácio de Oliveira, all from Teresópolis, were the first to step on top of the rock formation.

The artist
Eliseu Visconti, born Eliseo d'Angelo Visconti was an Italian-born Brazilian painter, cartoonist, and teacher. He is considered one of the very few impressionist painters of Brazil. He is considered the initiator of the art nouveau in Brazil.
Thanks to a prize received in 1892, Visconti travelled to Paris, where he attended the École des Beaux Arts the following year. He also took classes at the Académie Julian and the École nationale supérieure des arts décoratifs, where he was a pupil of art nouveau master Eugène Grasset. He was accepted at the Salon de la Nationale des Beaux Arts and at the Salon of the Société of des Artistes Français. As one of the Brazilian representatives to the Exposition Universelle 1900 he exhibited the paintings Gioventú and Oréadas, for which he received a silver medal. Back in Brazil, Visconti exhibited in Rio de Janeiro and São Paulo, and obtained the first place in a contest for the drawing of postal stamps for the Brazilian Casa da Moeda.  He traveled again to Europe, where he exhibited at the Paris Salon of 1905 the portrait of the artist Nicolina Vaz de Assis now at the Museu Nacional de Belas Artes. In this same year, he was invited to paint the stage curtain for the Teatro Municipal of Rio de Janeiro which he completed in his studio in Paris.
Decorative schemes executed for the National Library or Biblioteca Nacional in (Rio de Janeiro) date from this period as does another gold medal he received at the International Exhibition of Saint-Louis (Louisiana Purchase Exposition), in 1904, for the painting Recompensa de São Sebastião (see external links). The museum of Santiago of the Chile acquired his Sonho Místico (Mystical Dream) in 1912.  In 1913, Visconti returned to Europe in order to paint large scale panels for the "foyer" of the Theatro Municipal do Rio de Janeiro. His plans to return were interrupted by the First World War so he stayed in France until 1920. The resulting paintings for the "foyer" were sent to Brazil during the war, in 1915.  In 1922 his triptych "Lar" gained him the Medal of Honor in a large exhibition created in Rio de Janeiro to commemorate the first centennial of Brazilian Independence, the Exposição do Centenário.  The following year Visconti painted the mural decoration of Rio de Janeiro's municipal council hall. In 1924, he painted the panel depicting the signature of the first Republican Constitution, for the old federal court, also in Rio de Janeiro.

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2021 - Wandering Vertexes...
by Francis Rousseau