EL COTOPAXI PAINTED BY FREDERIC EDWIN CHURCH

 

FREDERIC EDWIN CHURCH (1826-1900)
Cotopaxi (5, 897 m - 19, 347 ft)
Ecuador

In Cotopaxi Seen from Ambato, 1853,  Brush and oil paint, graphite on paperboard, 17.5 × 28.9 cm Smithsonian-Cooper Hewitt

About the Cotopaxi paintings
Church has painted such a lot of times the Cotopaxi than you must have a second look to determine it the one you are looking at is the good one or a new view.
Church took two trips to South America, and stayed predominantly in Quito, Ecuador, the first in 1853 and the second in 1857. One trip was financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian polymath geographer Alexander von Humboldt's Cosmos (about “the Earth, matter, and space”) and his exploration of the continent in the early 1800s; Humboldt had challenged artists to portray the "physiognomy" of the Andes. After Humboldt’s Personal Narrative of Travels to the Equinoctial Regions of America was published in 1852, Church jumped at the chance to travel and study in his icon’s footsteps (literally, as he stayed in Humboldt’s old house) in Quito, Ecuador. When Church returned in 1857 he added to his landscape paintings of the area. After both trips, Church had produced four landscapes of Ecuador: The Andes of Ecuador (1855), Cotopaxi (1855), Cayambe (1858), The Heart of the Andes (1859), and Cotopaxi while erupting in 1862 (see above). The Heart of The Andes as week as the Cotopaxi paintings are precious and precise documentation, scientific studies of every natural feature that exists in that area of the Andes. Every species of plant and animal is readily identifiable; even climatic zonation by altitude is delineated precisely.
In this way, Church pays a unique tribute to Humboldt (who inspired his journey) as well as maintains his Hudson River School roots. “Therefore instead of the fiery crimsons and oranges of his emotional crepuscular scenes, the palette here is comparatively restrained by Church's standards: quiet greens, blues, browns, ochres and subdued grayish purples of sky, stone, verdure and water in full, even daylight.”

The mountain
Cotopaxi (5,897 m - 19,347 ft) is an active stratovolcano in the Andes Mountains, located in the Latacunga canton of Cotopaxi Province, about 50 km (31 mi) south of Quito, and 33 km (21 mi) northeast of the city of Latacunga, Ecuador, in South America. It is the second highest summit in Ecuador, reaching a height of 5,897 m (19,347 ft). It is one of the world's highest volcanoes. Many sources claim that Cotopaxi means "Neck of the Moon" in an indigenous language, but this is unproven. The mountain was honored as a "Sacred Mountain" by local Andean people, even prior to the Inca invasion in the 15th century.
Most of the time, Cotopaxi is clearly visible on the skyline from Quito and is part of the chain of volcanoes around the Pacific plate known as the Pacific Ring of Fire. It has an almost symmetrical cone that rises from a highland plain of about 3,800 metres (12,500 ft), with a width at its base of about 23 kilometres (14 mi). It has one of the few equatorial glaciers in the world, which starts at the height of 5,000 metres (16,400 ft). At its summit, Cotopaxi has an 800 X 550 m wide crater which is 250 m deep. The crater consists of two concentric crater rims, the outer one being partly free of snow and irregular in shape. The crater interior is covered with ice cornices and rather flat. The highest point is on the outer rim of the crater on the north side.
The first recorded eruption of Cotopaxi was in 1534. With 87 known eruptions since then, Cotopaxi is one of Ecuador's most active volcanoes.

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

___________________________________________
2021 - Wandering Vertexes...
by Francis Rousseau

COTOPAXI PAINTED BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826-1900)

Cotopaxi (5,897 m - 19,347 ft) 

Ecuador  

1. First famous painting in 1855. Smithsonian American Museum. 

2. Painted during the 1862 eruption - Detroit Institute of Art.  

The mountain 
Cotopaxi  is an active stratovolcano in the Andes Mountains,  which rises at 5,897 m - 19,347 ft and is located in the Latacunga canton of Cotopaxi Province, about 50 km (31 mi) south of Quito, and 33 km (21 mi) northeast of the city of Latacunga, Ecuador, in South America.  It is the second highest summit in Ecuador, reaching a height of 5,897 m (19,347 ft). It is one of the world's highest volcanoes. Many sources claim that Cotopaxi means "Neck of the Moon" in an indigenous language, but this is unproven. The mountain was honored as a "Sacred Mountain" by local Andean people, even prior to the Inca invasion in the 15th century.
Most of the time, Cotopaxi is clearly visible on the skyline from Quito and is part of the chain of volcanoes around the Pacific plate known as the Pacific Ring of Fire. It has an almost symmetrical cone that rises from a highland plain of about 3,800 metres (12,500 ft), with a width at its base of about 23 kilometres (14 mi). It has one of the few equatorial glaciers in the world, which starts at the height of 5,000 metres (16,400 ft). At its summit, Cotopaxi has an 800 X 550 m wide crater which is 250 m deep. The crater consists of two concentric crater rims, the outer one being partly free of snow and irregular in shape. The crater interior is covered with ice cornices and rather flat. The highest point is on the outer rim of the crater on the north side.
The first recorded eruption of Cotopaxi was in 1534.  With 87 known eruptions since then, Cotopaxi is one of Ecuador's most active volcanoes.

The painter
Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes.
Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes.  Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases.  Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.
Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.
This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes,” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.
About the Cotopaxi paintings 
Church took two trips to South America, and stayed predominantly in Quito, Ecuador, the first in 1853 and the second in 1857. One trip was financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian polymath geographer Alexander von Humboldt's Cosmos (about “the Earth, matter, and space”) and his exploration of the continent in the early 1800s; Humboldt had challenged artists to portray the "physiognomy" of the Andes. After Humboldt’s Personal Narrative of Travels to the Equinoctial Regions of America was published in 1852, Church jumped at the chance to travel and study in his icon’s footsteps (literally, as he stayed in Humboldt’s old house) in Quito, Ecuador. When Church returned in 1857 he added to his landscape paintings of the area. After both trips, Church had produced four landscapes of Ecuador: The Andes of Ecuador (1855), Cotopaxi (1855), Cayambe (1858), The Heart of the Andes (1859), and Cotopaxi while erupting in 1862 (see above). The Heart of The Andesas week as the Cotopaxi paintings are precious and precise  documentation, scientific studies of every natural feature that exists in that area of the Andes. Every species of plant and animal is readily identifiable; even climatic zonation by altitude is delineated precisely.
In this way, Church pays a unique tribute to Humboldt (who inspired his journey) as well as maintains his Hudson River School roots. “Therefore instead of the fiery crimsons and oranges of his emotional crepuscular scenes, the palette here is comparatively restrained by Church's standards: quiet greens, blues, browns, ochres and subdued grayish purples of sky, stone, verdure and water in full, even daylight.” 

EL TUNGURAHUA & EL COTOPAXI PAINTED BY FREDERIC-EDWIN CHURCH

FREDERIC EDWIN CHURCH  (1826-1900) 

Cotopaxi  (5, 897 m - 19, 347 ft)

Tungurahua (5, 023 m - 16, 460 ft)  

Ecuador

In The Andes of Ecuador, oil on canvas, c.1855, Reynolda House, Winston Salem (North Carolina)

About this painting 

“Painted after Frederic Edwin Church’s first trip to Ecuador in 1853, The Andes of Ecuador combines the scientific and religious concerns of Church’s time in one grand panorama. The infinite botanical detail, the terrifying depths of the abyss, and the overwhelming sense of unlimited space combine to communicate a powerful sense of the sublime.”  The painting encourages both distanced and close viewing through a dramatic sweeping vista that contains several small vignettes and seemingly endless details. Two figures in the left foreground pray in front of an archaic stone cross, colorful birds flocking in a palm tree above them. This scene is balanced on the right by cascades of water and a small lake. Snow-capped peaks in the background—Tungurahua on the  right and the cone of Cotopaxi in the mist on the left—frame the distant view. The white-hot light of a centrally placed sun permeates a warm palette of sienna browns and lush greens.

Church depicted various plant and animal species with exactness while imbuing the painting with an explicit Christian iconography, mirroring contemporary thinking about science and religion. Through his overt allusions to Christianity within the Ecuadorian landscape, “Church was intimating that Americans inhabited a new Eden, a new promised land, and in standing before this sublime grandeur one enjoyed the metaphoric presence of Genesis.”  From the llamas grazing in the center foreground to the distant snowy peaks, the multiple ecosystems correspond to Alexander Von Humboldt’s belief in the harmony of nature in which biology, botany, and geology coalesce to determine vegetation. His theories were popular with artists of the nineteenth century, who saw in them a way to reconcile God’s divinity with scientific advancements. In the Cotopaxi region of Ecuador both Humboldt and Church found in one locale perennial summers—the tropics—juxtaposed with ice-covered volcanic mountains.

A critic writing for The Crayon in 1855 acclaimed the canvas Church’s “most important work yet,” and a student recalled how he painted “with a rapidity and precision which were simply inconceivable by one who had not seen him at work.”  In addition, The Andes of Ecuador is an early masterpiece of Luminism, a style prevalent in the late nineteenth century that consisted of radiant, light-filled quiet vistas.

 *Description note  from the  Reynolda House, Museum of American Art 

The mountains 

Cotopaxi  (5, 897 m - 19, 347 ft) (on left in the mist in this painting) is an active stratovolcano in the Andes Mountains. It  is located in the Latacunga canton of Cotopaxi Province, about 50 km (31 mi) south of Quito, and 33 km (21 mi) northeast of the city of Latacunga, Ecuador, in South America.  It is the second highest summit in Ecuador. It is one of the world's highest volcanoes. Many sources claim that Cotopaxi means "Neck of the Moon" in an indigenous language, but this is unproven. The mountain was honored as a "Sacred Mountain" by local Andean people, even prior to the Inca invasion in the 15th century. Most of the time, Cotopaxi is clearly visible on the skyline from Quito and is part of the chain of volcanoes around the Pacific plate known as the Pacific Ring of Fire. 

Tungurahua (5, 023 m - 16, 460 ft)   meaning "Throat of Fire" from Panzaleo, is an active stratovolcano located in the Cordillera Oriental of Ecuador. The volcano gives its name to the province of Tungurahua. Volcanic activity restarted on August 19, 1999, and is ongoing as of 2013, with several major eruptions since then, the last starting on 1 February 2014. It is located 140 kilometres (87 mi) south of the capital Quito. Nearby notable mountains are Chimborazo (6,310 m - 20,700 ft) and El Altar (5,319 m -17,451 ft). It rises above the small thermal springs town of Baños de Agua Santa (1,800 m -5,900 ft) which is located at its foot 8 kilometres (5.0 mi) to the north. Tungurahua is part of the Sangay National Park. Tungurahua's top is snow-covered and did feature a small summit glacier which melted away after the increase of volcanic activity in 1999.

During their seven-year-long South America expedition (1868 to 1876), the German volcanologists Alphons Stübel and Wilhelm Reiss climbed Cotopaxi (Reiss with Angel Escobar; 28 November 1872) and Tungurahua (Stübel with Eusebio Rodríguez; 9 February 1873).

The Painter 

The second generation of the Hudson River School took landscape painting to a new level. Foremost among them was Frederic Edwin Church (1826–1900), who expanded the size and grandeur of his canvases and broadened their scope by traveling far afield. His adventurous spirit led him from the high peaks of the Andes to the icebergs of Newfoundland. His skills as an artist and showman complemented his dramatic compositions and spectacular use of light and color. The resulting paintings appealed to the expansionist, scientific, and religious sensibilities at mid-century and remain nationalistic icons of America and her art.

Born in Hartford, Connecticut, to a well-off family, Church’s artistic prowess was nurtured at an early age. From 1844–1846 he was a student of Thomas Cole, the premier painter of American landscape, in Catskill, New York. During his time with Cole, Church honed his painting skills through close observation of nature, sketching the quintessential American landscape, the Hudson River Valley.

 In his Book of the Artists, Henry Tuckerman said of Church: “His great attribute is skill; he goes to nature, not so much with the tenderness of a lover or the awe of a worshipper, as with the determination, the intelligence, the patient intrepidity of a student; he is keenly on the watch for facts, and resolute in their transfer to art.” 

After Cole’s sudden death in 1848, Church assumed his mentor’s place as a leading figure of the Hudson River School. That same year he was elected the youngest associate of the National Academy of Design, and the following year he earned the rank of academician.

As important as Cole was to Church’s technical development, the work of scientist-explorer Alexander Von Humboldt (1769–1859) was equally influential in Church’s evolution as a painter. Humboldt published the two-volume text Cosmos in the 1840s, in which he identified unifying principles within the incredible complexity of the world’s environments. His theories lent themselves to romantic interpretation and became popular with artists of the mid-nineteenth century as they grappled with the confluence of divinity and science.

Church answered Humboldt’s call to artists to depict the grand and diverse beauty of nature; he traced the explorer’s steps through Ecuador on two separate trips in 1853 and 1857. The artist sketched the complex ecosystems he encountered and his final canvases merged scientific precisionism with Judeo-Christian themes. Church painted his South American canvases on a large scale in his studio and then exploited the spectacular subject matter through elaborate displays.  His Heart of the Andes, 1859, Metropolitan Museum of Art, was hung behind a red velvet curtain and capped by portraits of great American presidents. For twenty-five cents each, the public was admitted entry to Church’s premises in the Tenth Street Studio Building to view the exhibit. The painting created a sensation and that same year sold for the record-breaking price of $10,000. During his career Church painted sixteen major works derived from his travels in South America.

While Church found success with these subjects, still the majority of his works explored the majesty of American terrain. Niagara Falls, 1857, Corcoran Gallery of Art, and Twilight in the Wilderness, 1860, Cleveland Museum of Art, celebrate the glories of America at a time of growing sectional strife. His dramatic The Icebergs, 1861, Dallas Museum of Art, was inspired by an unsuccessful expedition to find the Northwest Passage. When it was unveiled it failed to find a buyer, an early indication, perhaps, of a shift of taste away from grandiose conceptions.

Church and his work influenced subsequent painters of American landscape; he taught Louis Rémy Mignot who traveled with him to Ecuador, and his radiant treatment of light inspired the luminist painters of the later nineteenth century.  Following an extended trip abroad, Church commissioned the architect Calvert Vaux to build Olana, a Persian-inspired villa located on a high bluff overlooking the Hudson River. Church designed stencils, selected wall colors, and furnished Olana with an eclectic array of objets d’art and furniture. Toward the end of his life, Church retired to Olana, just as enthusiasm for his kind of grand statement was fading.

 * Bio note  from the  Reynolda House, Museum of American Art 

EL COTOPAXI (2) BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826-1900)

Cotopaxi (5,897 m - 19,347 ft) 

Ecuador  

In El Copotopaxi, oil on canvas, 1853, Coleccion Patricia Phelp de Cisneros

The mountain 

Cotopaxi  is an active stratovolcano in the Andes Mountains,  which rises at 5,897 m - 19,347 ft and is located in the Latacunga canton of Cotopaxi Province, about 50 km (31 mi) south of Quito, and 33 km (21 mi) northeast of the city of Latacunga, Ecuador, in South America.  It is the second highest summit in Ecuador, reaching a height of 5,897 m (19,347 ft). It is one of the world's highest volcanoes. Many sources claim that Cotopaxi means "Neck of the Moon" in an indigenous language, but this is unproven. The mountain was honored as a "Sacred Mountain" by local Andean people, even prior to the Inca invasion in the 15th century.

Most of the time, Cotopaxi is clearly visible on the skyline from Quito and is part of the chain of volcanoes around the Pacific plate known as the Pacific Ring of Fire. It has an almost symmetrical cone that rises from a highland plain of about 3,800 metres (12,500 ft), with a width at its base of about 23 kilometres (14 mi). It has one of the few equatorial glaciers in the world, which starts at the height of 5,000 metres (16,400 ft). At its summit, Cotopaxi has an 800 X 550 m wide crater which is 250 m deep. The crater consists of two concentric crater rims, the outer one being partly free of snow and irregular in shape. The crater interior is covered with ice cornices and rather flat. The highest point is on the outer rim of the crater on the north side.

The first recorded eruption of Cotopaxi was in 1534.  With 87 known eruptions since then, Cotopaxi is one of Ecuador's most active volcanoes.

The Painter 

The second generation of the Hudson River School took landscape painting to a new level. Foremost among them was Frederic Edwin Church (1826–1900), who expanded the size and grandeur of his canvases and broadened their scope by traveling far afield. His adventurous spirit led him from the high peaks of the Andes to the icebergs of Newfoundland. His skills as an artist and showman complemented his dramatic compositions and spectacular use of light and color. The resulting paintings appealed to the expansionist, scientific, and religious sensibilities at mid-century and remain nationalistic icons of America and her art.

Born in Hartford, Connecticut, to a well-off family, Church’s artistic prowess was nurtured at an early age. From 1844–1846 he was a student of Thomas Cole, the premier painter of American landscape, in Catskill, New York. During his time with Cole, Church honed his painting skills through close observation of nature, sketching the quintessential American landscape, the Hudson River Valley.

 In his Book of the Artists, Henry Tuckerman said of Church: “His great attribute is skill; he goes to nature, not so much with the tenderness of a lover or the awe of a worshipper, as with the determination, the intelligence, the patient intrepidity of a student; he is keenly on the watch for facts, and resolute in their transfer to art.” 

After Cole’s sudden death in 1848, Church assumed his mentor’s place as a leading figure of the Hudson River School. That same year he was elected the youngest associate of the National Academy of Design, and the following year he earned the rank of academician.

As important as Cole was to Church’s technical development, the work of scientist-explorer Alexander Von Humboldt (1769–1859) was equally influential in Church’s evolution as a painter. Humboldt published the two-volume text Cosmos in the 1840s, in which he identified unifying principles within the incredible complexity of the world’s environments. His theories lent themselves to romantic interpretation and became popular with artists of the mid-nineteenth century as they grappled with the confluence of divinity and science.

Church answered Humboldt’s call to artists to depict the grand and diverse beauty of nature; he traced the explorer’s steps through Ecuador on two separate trips in 1853 and 1857. The artist sketched the complex ecosystems he encountered and his final canvases merged scientific precisionism with Judeo-Christian themes. Church painted his South American canvases on a large scale in his studio and then exploited the spectacular subject matter through elaborate displays.  His Heart of the Andes, 1859, Metropolitan Museum of Art, was hung behind a red velvet curtain and capped by portraits of great American presidents. For twenty-five cents each, the public was admitted entry to Church’s premises in the Tenth Street Studio Building to view the exhibit. The painting created a sensation and that same year sold for the record-breaking price of $10,000. During his career Church painted sixteen major works derived from his travels in South America.

While Church found success with these subjects, still the majority of his works explored the majesty of American terrain. Niagara Falls, 1857, Corcoran Gallery of Art, and Twilight in the Wilderness, 1860, Cleveland Museum of Art, celebrate the glories of America at a time of growing sectional strife. His dramatic The Icebergs, 1861, Dallas Museum of Art, was inspired by an unsuccessful expedition to find the Northwest Passage. When it was unveiled it failed to find a buyer, an early indication, perhaps, of a shift of taste away from grandiose conceptions.

Church and his work influenced subsequent painters of American landscape; he taught Louis Rémy Mignot who traveled with him to Ecuador, and his radiant treatment of light inspired the luminist painters of the later nineteenth century.  Following an extended trip abroad, Church commissioned the architect Calvert Vaux to build Olana, a Persian-inspired villa located on a high bluff overlooking the Hudson River. Church designed stencils, selected wall colors, and furnished Olana with an eclectic array of objets d’art and furniture. Toward the end of his life, Church retired to Olana, just as enthusiasm for his kind of grand statement was fading.

_______________________________
2019 - Wandering Vertexes...
by Francis Rousseau 

SLIDE MOUNTAIN (CATSKILLS) PEINTE PAR FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826-1900)
Slide Mountain (1,279 m - 4,180 ft)
United States of America (New York State)

In "Catskills at sunset", 1882, oil on cardboard, Smithsonian / Cooper Hewitt Museum

 

La montagne
Slide Mountain (1,279 m - 4,180 ft) est le point culminant du chaînon Burroughs, dans les montagnes Catskill dans l’État de New York. Les montagnes Catskill  ou simplement les Catskills, sont une région de reliefs  située au nord de la ville de New York et au sud d'Albany. En dépit de leur nom, les Catskills ne sont pas des montagnes au sens géologique du terme, mais plutôt un plateau érodé, constitué de plateaux et de collines ayant subi une érosion intense. Elles constituent le prolongement vers l'est, ainsi que les plus hauts sommets, du plateau des Allegheny. Elles sont parfois considérées comme une partie de la chaîne des Appalaches, même si les deux chaînes ne sont pas géologiquement liées. Les Catskills sont situées à l'ouest du fleuve Hudson (Hudson River) et traversent cinq comtés : l'Ulster, le Greene, le Sullivan, le Delaware et le Schoharie.
Les Catskills sont le lieu de légendes traditionnelles remontant aux tribus amérindiennes et aux premiers colons néerlandais, qui baptisent les montagnes « Kaatskil » au xviiie siècle. Washington Irving y situe son histoire de Rip Van Winkle, en lien avec le navigateur Henry Hudson. Au 19e siècle, les Catskills deviennent une destination de vacances pour les riches New-yorkais. Le bois est exploité à grande échelle, des fermes s'installent et la région perd de sa forêt sauvage. En 1885, une loi, votée par l'État de New York, délimite la Catskill and Adirondack Forest Preserve dans le but de préserver l'état sauvage de la région, et en 1904, le Catskill Park, un parc naturel, est créé.
La réputation des Catskills comme lieu de vacances continue et pendant la première partie du 20e siècle de nombreux groupes ethniques, dont les Allemands, les Tchèquesy installent des hôtels, des centres de vacances, des campings, notamment au sud dans les Shawangunk Ridge, près de la ville de New Paltz. Les plus grands hôtels et centres de séjours d'été juifs (comme Kutsher's, Brown's, et Grossinger's) deviennent alors connus collectivement comme la Borscht Belt (la « ceinture du bortsch »), certains faisant référence à la région comme les « Alpes juives ». De nombreux artistes et musiciens font leurs débuts dans ces hôtels souvent somptueux. Cette tradition « ethnique » a quasiment disparu depuis les années 1960, bien que l'histoire de la « Borscht Belt » fasse toujours partie de l'héritage de la région, et les Catskills continuent de prospérer grâce à leurs hôtels et lodges traditionnels.
Les Catskills étaient aussi la « maison d'été » de milliers d'enfants qui y venaient pour passer leurs colonies de vacances (« camps »). Les plus connus étaient les Camp Ma-Ho-Ge et Camp Diana Damalqua. Récemment, quelques petits hôtels se sont réinstallés dans la région, satisfaisant les aventuriers et les amateurs de sports d'hiver. Les Catskills sont également une destination de randonnée, en particulier pour les adeptes du peak bagging qui essaient d'atteindre les principaux sommets de la chaîne.
Pendant le week-end du 15 août 1969, les Catskills furent le théâtre du festival de Woodstock.

Le peintre
Frederic Edwin Church, est un peintre paysagiste américain. Il est une figure centrale de « l'Hudson River School » qui regroupait des paysagistes américains.
L'aisance financière de son père,  orfèvre et horloger  permet à Frederic Edwin Church de se consacrer précocement à l'art. Dès l'âge de 18 ans, le jeune Frederic devient, à Catskill, une petite localité de l'État de New York, l'unique élève de Thomas Cole le fondateur de l'Hudson River School. Plus tard, Church sera considéré comme le chef de file de la seconde génération de ce mouvement artistique américain.
En 1849, Frederic Edwin Church est élu à l'Académie américaine des beaux-arts, devenant ainsi le plus jeune membre de ce cénacle. Peu après, il vend sa première œuvre d'importance au Wadsworth Atheneum de Hartford.
Il s'installe vers 1850 à New York, où il a un premier élève, William James Stillman, et continue de peindre des paysages de la Nouvelle-Angleterre. À cette époque, il a pour coutume, du printemps jusqu'à l'automne, de voyager, souvent à pied, tout en dessinant. Chaque hiver, il s'installe dans son atelier afin de se servir de ses esquisses pour peindre des tableaux de très grands formats, et les vendre pour des sommes de plus en plus importantes. Cette première période de l'œuvre de Church doit encore beaucoup au style de son maître Thomas Cole, mais percent déjà quelques singularités de son tempérament. Contrairement à Cole qui privilégie les compositions éthérées, presque mythologiques, dans ses paysages, Church préfère les scènes où sont associées vie et fantaisie dans un décor où l'artiste fait usage d'une riche palette chromatique, ayant recours à des rouges, des violets et des oranges qui donnent à ses tableaux une tension presque dramatique.
Devenu bientôt célèbre en Amérique pour ses paysages colossaux, Church cherche toutefois à se démarquer des autres peintres en diversifiant son inspiration, souvent grâce à la conception de paysages évoquant des lieux exotiques. Il entreprend à deux reprises des voyages de plusieurs mois en Amérique du Sud, et séjourne principalement à Quito, capitale de l'Équateur.
Son premier voyage a lieu en 1853. À ce moment de sa carrière, Church est influencé par les théories du grand penseur et géographe prussien Alexandre von Humboldt sur la terre, la matière et l'espace. Humboldt avait ainsi mis au défi les artistes de pouvoir parvenir à représenter la « physionomie » singulière de la cordillère des Andes. Church va s'y employer, voyageant littéralement sur les traces de Humboldt, puisqu'il a demeuré dans la vieille maison où Humboldt avait résidé à Quito.
Quand Church retourne en Amérique du Sud pour son deuxième voyage en 1857, il a des vues moins nobles. L'artiste est alors financé par l'homme d'affaires américain Cyrus Field qui cherche à utiliser la renommée du peintre pour attirer l'attention des investisseurs sur ses entreprises sud-américaines. Le tableau Le Cœur des Andes, aujourd'hui propriété du Metropolitan Museum of Art de New York, est issu du second voyage. La toile, qui mesure plus d'un mètre cinquante en hauteur et près de trois en largeur, est dévoilée en 1859 à New York devant un public ébahi. Church l'installe dans une pièce spécialement éclairée, munie de rideaux et de frondes de palmiers, et fait payer l'entrée au public. Tout doit servir à créer un événement sensationnel. Et c'est un succès immédiat. Church vend ensuite l'œuvre pour 10 000 $, ce qui, à l'époque, est le prix le plus élevé jamais atteint par un tableau d'un peintre américain vivant. Il est alors surnommé le « Michel-Ange du paysage. »
En 1860, son aisance financière permet à Church d'acheter une vaste ferme à Greenport, près de Hudson,
En 1870, il commence la construction, sur une colline de sa propriété, d'une maison d'inspiration persane où il s'installe à l'été 1872. Les premiers plans sont signés par l'architecte Richard Morris Hunt,  qui a également travaillé en France aux travaux d'agrandissement du Louvre en 1854 ; mais Church l'écartera du projet pour le confier à l'architecte anglais Calvert Vaux après un long voyage en Europe et au Proche-Orient pendant lequel, fidèle à ses habitudes, il ramène plusieurs dessins dont certains serviront de base à des œuvres peintes.
Au cours des vingt dernières années de sa vie, Church consacre une grande partie de son énergie à embellir sa maison d'Olana.

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2023 - Gravir les montagnes en peinture
Un blog de Francis Rousseau  

 

BLUE MOUNTAIN PEAK PAINTED BY FREDERIC EDWIN CHURCH

 

 

FREDERIC EDWIN CHURCH (1826-1900)
Blue Mountain Peak (2,256 m - 7,402 ft)
Jamaica

In Jamaica landscape, West Indies, August 1868, watercolor, Smithsonian/ Cooper Hewitt,  Smithsonian Design Museum

The mountain
Blue Mountain Peak (2,256m - 7401ft) is the highest mountain peak in the Blues mountains, occupying the eastern third of Jamaica. It is also the highest peak in Jamaica.
In May 1655, a British expedition led by Admiral William Penn and General Robert Venables seized the island, still sparsely populated, after having failed to take Santo Domingo. The Spaniards flee after having freed their slaves. Scattered in the jungle, they create dozens of secret villages on the northern slope of the Blue Mountains with its peculiar recrystallized and dolomitic limestone soil, and in the "Cockpit country", pierced by bowl-shaped depressions and watered by heavy rainfall. For a century and a half, these two areas will serve, for their many caches, a rear base with numerous revolts of slaves.
The Jamaica Blue Mountain coffee, which is grown on the mountain slopes of the same name, is one of the most expensive and one of the best in the world.

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

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2021 - Wandering Vertexes...
by Francis Rousseau

MOUNT KATAHDIN (3) PAINTED BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826-1900)
Mount Katahdin (1,605 m - 5,267ft)
United States of America (Maine)

In Mt. Katahdin from Lake Katahdin,  Medium/ Brush and oil, pencil on cardboard,1860–70, 28.4 x 30.6 cm ,Smithsonian/ Cooper Hewitt,

About this painting
Frederic Edwin Churh painted Mt Katahdin several times. Two of those paintings has already peen publish in this blogs. : 13 Decembeer 2016 and 7 may 2018   very often at sunset but  never with the golden light we can see on the canvas above...

The mountain
Mount Katahdin (1,605 m - 5,267 feet) is the highest mountain in the U.S. state of Maine and the northern terminus of the Appalachian Trail. The mountain, being a mile above sea level, towers above the comparatively low Maine lakes and forests. Named Katahdin by the Penobscot Indians, which means "The Greatest Mountain", Katahdin is the centerpiece of Baxter State Park. The official name is "Mount Katahdin" as decided by the US Board on Geographic Names in 1893. Among some Native Americans, Katahdin was believed to be the home of the storm god Pamola, and thus an area to be avoidedIt is a steep, tall mountain formed from a granite intrusion weathered to the surface.
Katahdin was known to the Native Americans in the region, and was known to Europeans at least since 1689. It has inspired hikes, climbs, journal narratives, paintings, and a piano sonata. The area around the peak was protected by Governor Percival Baxter starting in the 1930s. Katahdin is located near a stretch known as the Hundred-Mile Wilderness.
Katahdin is referred to 60 years after Field’s climb of Agiokochuk (Mount Washington) in the writings of John Gyles, a teenage colonist who was captured near Portland, Maine in 1689 by the Abenaki. While in the company of Abenaki hunting parties, he traveled up and down several Maine rivers including both branches of the Penobscot, passing close to “Teddon”. He remarked that it was higher than the White Hills above the Saco River.
The first recorded climb of "Catahrdin" was by Massachusetts surveyors Zackery Adley and Charles Turner, Jr. in August 1804.[14] In the 1840s Henry David Thoreau climbed Katahdin, which he spelled "Ktaadn"; his ascent is recorded in a well-known chapter of The Maine Woods. A few years later Theodore Winthrop wrote about his visit in Life in the Open Air. Painters Frederic Edwin Church and Marsden Hartley are well-known artists who created landscapes of Katahdin.
In the 1930s Governor Percival Baxter began to acquire land and finally deeded more than 200,000 acres (809 km2) to the State of Maine for a park, named Baxter State Park after him. The summit was officially recognized by the US Board on Geographic Names as "Baxter Peak" in 1931.

The painter

Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes. Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes.  Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases.  Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.

Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.

This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of Luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.

 
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2021 - Wandering Vertexes...
by Francis Rousseau 

ILLINIZAS VOLCANOES SKETCHED BY FREDERIC EDWIN CHURCH (1826-1900)

FREDERIC EDWIN CHURCH (1826-1900),

Illiniza Sur  (5,248 m-17, 218ft)

Illiniza Norte 5,126 m-16, 818ft)
Ecuador

 In Mount Iliniza, Ecuador, July 3, 1857,  Graphite, brush and white gouache on green paper, 31.1 x 43.2 cm, Smithsonian / Cooper Hewitt, Smithsonian Design Museum 

The volcanoes
The Illinizas are a pair of volcanic mountains that are located to the south of Quito, Ecuador. They are located in the Illinizas Ecological Reserve (Reserva Ecológica Los Illinizas). These twin mountains are separated by a saddle that is about a kilometer long. The peaks are among the highest in Ecuador, with Illiniza Sur (5248 m-17, 218ft) standing slightly taller than Illiniza Norte 5126 m- 16, 818ft) its northern counterpart.
Most guidebooks (for example, Lonely Planet Ecuador, Ecuador: A Climbing Guide) spell the mountain with only one "l" as in Iliniza. The name Illinizas is derived from the Kunza words for "masculine hill."
Whilst Illiniza Sur (the southern peak) is a more difficult climb due to its glacial nature, Illiniza Norte requires little or no climbing expertise, and may be climbed as a trekking peak. A guide is still recommended, however, as the path becomes hard to navigate as it approaches the summit.
The Illinizas are excellent mountains for acclimatization to altitude, and are frequently used as a preparatory climb to higher peaks such as Cotopaxi, Chimborazo and Cayambe.
There is a rustic refuge located between the north and south peaks. It can be reached in one hour by car from El Chaupi, followed by a three-hour climb. The refuge has gas stoves, pots and pans and bunk beds. It is necessary to bring warm sleeping bags and food, but water is available to be boiled. The Englishman Edward Whymper tried and failed twice to make the first ascent of Iliniza Sur. It was climbed for the first time in 1880 by his two Italian guides Jean-Antoine Carrel and Louis Carrel. The first ascent of Iliniza Norte was made in 1912 by the Ecuadorians Nicolás Martínez and Alejandro Villavicencio.

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

___________________________________________
2021 - Wandering Vertexes...
by Francis Rousseau

MOUNT KATAHDIN PAINTED BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH  (1826-1900)

Mount Katahdin (1,605 m - 5,267 f)

United States of America (Maine)

In Twilight (Katahdin), 1860, oil on canvas, The MET

The mountain  

Mount Katahdin (1,605 m - 5,267 feet)  is the highest mountain in the U.S. state of Maine and the northern terminus of the Appalachian Trail. The mountain, being a mile above sea level, towers above the comparatively low Maine lakes and forests. Named Katahdin by the Penobscot Indians, which means "The Greatest Mountain", Katahdin is the centerpiece of Baxter State Park.  The official name is "Mount Katahdin" as decided by the US Board on Geographic Names in 1893. Among some Native Americans, Katahdin was believed to be the home of the storm god Pamola, and thus an area to be avoidedIt is a steep, tall mountain formed from a granite intrusion weathered to the surface. 

Katahdin was known to the Native Americans in the region, and was known to Europeans at least since 1689. It has inspired hikes, climbs, journal narratives, paintings, and a piano sonata. The area around the peak was protected by Governor Percival Baxter starting in the 1930s. Katahdin  is located near a stretch known as the Hundred-Mile Wilderness.

Katahdin is referred to 60 years after Field’s climb of Agiokochuk (Mount Washington) in the writings of John Gyles, a teenage colonist who was captured near Portland, Maine in 1689 by the Abenaki. While in the company of Abenaki hunting parties, he traveled up and down several Maine rivers including both branches of the Penobscot, passing close to “Teddon”. He remarked that it was higher than the White Hills above the Saco River.

The first recorded climb of "Catahrdin" was by Massachusetts surveyors Zackery Adley and Charles Turner, Jr. in August 1804.[14] In the 1840s Henry David Thoreau climbed Katahdin, which he spelled "Ktaadn"; his ascent is recorded in a well-known chapter of The Maine Woods. A few years later Theodore Winthrop wrote about his visit in Life in the Open Air. Painters Frederic Edwin Church and Marsden Hartley are well-known artists who created landscapes of Katahdin. On 30 November 2011, Christie's auctioned Church's 1860 painting Twilight (Katahdin) for $3.1 million.(see above)

In the 1930s Governor Percival Baxter began to acquire land and finally deeded more than 200,000 acres (809 km2) to the State of Maine for a park, named Baxter State Park after him. The summit was officially recognized by the US Board on Geographic Names as "Baxter Peak" in 1931.

Climbing 

The many routes to the summit all involve at least some scrambling from second to fourth class and come from three general directions, north, east and southwest. However there are several technical routes both rock and ice. A campsite, Chimney Pond, sits within the cirque called the Great Basin. From this point, one can ascend the Cathedral Ridge Route (1.7 mi.) that runs up the salient ridge just west of Baxter Peak or the Saddle Trail (2.2 mi.) which is a bit more pedestrian. Or if you want to head up the Knife Edge (1.1 mi.) you would ascend the Dudley Trail to Pamola Peak (1.3 mi.). You can also head west from Chimney Pond to Hamlin Peak via the Hamlin Ridge Trail (2.2 mi.) if you want to hike the entire western side of the mountain to the summit. You can also climb directly from the east via the Roaring Brook Campground in the Helon Taylor Trail (4.3 mi to summit). This takes you directly to Pamola Peak and the Knife Edge route to the summit and bypasses Chimney Pond.

The painter

Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes. Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes.  Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases.  Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.

Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.

This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of Luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.

CAYAMBE PAINTED BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH  (1826-1900) 

 Cayambe  (5,790 m -19,000 ft)

 Ecuador

In The Andes of Ecuador, oil on canvas, 1858

The mountain 

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

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

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

CADILLAC MOUNTAIN PAINTED BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826 -1900) 

Cadillac Mountain (466 m - 1,530 ft)

United States of America (Maine) 

In Mount Desert by 1850, oil on canvas,  Museum of Fine arts Boston

The Mountain,
Cadillac Mountain (466 m- 1,530 ft) is located on Mount Desert Island, within Acadia National Park, in the U.S. state of Maine. Its summit is the highest point in Hancock County and the highest within 25 miles (40 km) of the shoreline of the North American continent between the Cape Breton Highlands, Nova Scotia and peaks in Mexico. It is known as the first place in the U.S. to see the sunrise, although that is only true for a portion of the year. Before being renamed in 1918, the mountain had been called Green Mountain. The new name honors the French explorer and adventurer Antoine Laumet de La Mothe, sieur de Cadillac. In 1688, De la Mothe requested and received from the Governor of New France a parcel of land in an area known as Donaquec which included part of the Donaquec River (now the Union River) and the island of Mount Desert in the present-day U.S. state of Maine. Antoine Laumet de La Mothe, a shameless self-promoter who had already appropriated the "de la Mothe" portion of his name from a local nobleman in his native Picardy, thereafter referred to himself as Antoine de la Mothe, sieur de Cadillac, Donaquec, and Mount Desert ! From 1883 until 1893 the Green Mountain Cog Railway ran to the summit to take visitors to the Green Mountain Hotel. The hotel burned down in 1895 and the cog train was sold and moved to the Mount Washington Cog Railway in New Hampshire

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

BLUE MOUNTAIN PEAK BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826-1900)

Blue Mountain Peak (2,256m - 7401ft)

 Jamaica

 In Jamaica, oil on canvas, 1871, Wadsworth Atheneum Museum of Art

The mountain 
Blue Mountain Peak (2,256m - 7401ft) is the highest mountain peak in the Blues mountains, occupying the eastern third of Jamaica. It is also the highest peak in Jamaica.
In May 1655, a British expedition led by Admiral William Penn and General Robert Venables seized the island, still sparsely populated, after having failed to take Santo Domingo. The Spaniards flee after having freed their slaves. Scattered in the jungle, they create dozens of secret villages on the northern slope of the Blue Mountains with its peculiar recrystallized and dolomitic limestone soil, and in the "Cockpit country", pierced by bowl-shaped depressions and watered by heavy rainfall. For a century and a half, these two areas will serve, for their many caches, a rear base with numerous revolts of slaves.
The Jamaica Blue Mountain coffee, which is grown on the mountain slopes of the same name, is one of the most expensive and one of the best in the world.

The painter

Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes. Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes.  Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases.  Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.

Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.

This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of Luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.

EL PICHINCHA BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH (1826-1900) 

Pichincha (4,784m - 15,696 ft)

Ecuador

 In The Andes of Ecuador, 1855, oil on canvas,  Philadelphia Museum of Art, Pennsylvania

The mountain 

Pichincha is an active stratovolcano in Ecuador, whose capital Quito wraps around its eastern slopes. The two highest peaks of the mountain are Guagua Pichincha (4,784 m -15,696 ft) and Rucu Pichincha (4,698 m - 15,413 ft). The active caldera is in Guagua Pichincha on the western side of the mountain. Both peaks are visible from the city of Quito and both are popular acclimatization climbs. Guagua Pichincha is usually accessed from the village of Lloa outside of Quito. 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 in 1660, when about 30 cm of ash fell on the city.

The province in which it is located takes its name from the mountain, as is the case for many of the other provinces in Ecuador (Cotopaxi, Chimborazo, Imbabura...). On May 24, 1822, General Sucre 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 painter

Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, perhaps best known for painting large panoramic landscapes, often depicting mountains, waterfalls, and sunsets, but also sometimes depicting dramatic natural phenomena that he saw during his travels to the Arctic and Central and South America. Church's paintings put an emphasis on light and a romantic respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes.

Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains and other traditional American scenes.  Both Cole and Church were devout Protestants and the latter's beliefs played a role in his paintings especially his early canvases.  Church did differ from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory.

Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, and luminism in his paintings. Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes also with emphasis on the grand scale of nature.

This tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The emphasis on nature is encouraged by the low horizontal lines, and preponderance of sky to enhance the wilderness; humanity, if it is represented, is depicted as small in comparison with the greater natural reality. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Church's works. Luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes,” which makes the scene seem more realistic and lessen the artist’s presence in the work. Most importantly is the emphasis on light (hence luminism) in these scenes. The several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting.

CAYAMBE (2) BY FREDERIC EDWIN CHURCH

FREDERIC EDWIN CHURCH  (1826-1900) 

 Cayambe  (5,790 m -19,000 ft)

 Ecuador

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

The mountain 

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

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

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