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Thursday, June 30, 2022

PICO DEL TEIDE SKETCHED BY ALEXANDER VON HUMBOLDT



ALEXANDER VON HUMBOLDT (1769-1859), Pico del Teide (3, 718 m -12, 198 ft) Tenerife - Canari Islands - Spain   In  "Intérieur du Cratère du Pic de Teneriffe " Dessin, Alexander von Humboldt

 

ALEXANDER VON HUMBOLDT (1769-1859)
Pico del Teide (3, 718 m -12, 198 ft)
Tenerife - Canari Islands - Spain

 In  "Intérieur du Cratère du Pic de Teneriffe " Dessin, Alexander von Humboldt


The mountain
Pico del Teide (3,718m - 12,198 ft) (« Teide Peak") is a volcano on Tenerife in the Canary Islands, Spain. Before the 1495 Spanish colonization of Tenerife, the native Guanches called the volcano Echeyde, which in their legends referred to a powerful figure leaving the volcano, which could turn into hell. El Pico del Teide is the modern Spanish name.
Its summit is the highest point in Spain and the highest point above sea level in the islands of the Atlantic. If measured from its base on the ocean floor, it is at 7,500 m-24,600 ft the third highest volcano on a volcanic ocean island in the world after Mauna Kea and Mauna Loa in Hawaii. Its elevation makes Tenerife the tenth highest island in the world. It remains active: its most recent eruption occurred in 1909 from the El Chinyero vent on the northwestern Santiago rift.
Historical volcanic activity on the island is associated with vents on the Santiago or northwest rift (Boca Cangrejo in 1492, Montañas Negras in 1706, Narices del Teide or Chahorra in 1798 and El Chinyero in 1909) and the Cordillera Dorsal or northeast rift (Fasnia in 1704, Siete Fuentes and Arafo in 1705). The 1706 Montañas Negras eruption destroyed the town and principal port of Garachico, as well as several smaller villages.
In 1492, Christopher Columbus reported seeing "a great fire in the Orotava Valley" as he sailed past Tenerife on his voyage to discover the New World. This was interpreted as indicating that he had witnessed an eruption there. Radiometric dating of possible lavas indicates that in 1492 no eruption occurred in the Orotava Valley, but one did occur from the Boca Cangrejo vent.
The last summit eruption from Teide occurred about the year 850 CE, and this eruption produced the "Lavas Negras" that cover much of the flanks of the volcano.
About 150,000 years ago, a much larger explosive eruption occurred, probably of Volcanic Explosivity Index 5.
The United Nations Committee for Disaster Mitigation designated Teide a Decade Volcano because of its history of destructive eruptions and its proximity to several large towns, of which the closest are Garachico, Icod de los Vinos and Puerto de la Cruz. Teide, Pico Viejo and Montaсa Blanca form the Central Volcanic Complex of Tenerife.
In a publication of 1626, Sir Edmund Scory, who probably stayed on the island in the first decades of the 17th century, gives a description of Teide, in which he notes the suitable paths to the top and the effects the considerable height causes to the travellers, indicating that the volcano had been accessed via different routes before the 17th century. In 1715 the English traveler J. Edens and his party made the ascent and reported their observations in the journal of the Royal Society in London.
After the Enlightenment, most of the expeditions that went to East Africa and the Pacific had Teide as one of the most rewarding targets. The expedition of Lord George Macartney, George Staunton and John Barrow in 1792 almost ended in tragedy, as a major snowstorm and rain swept over them and they failed to reach the peak of Teide, just barely getting past Montaña Blanca.
During an expedition to Kilimanjaro, the German adventurer Hans Heinrich Joseph Meyer visited Teide in 1894 to observe ice conditions on the volcano. He described the two mountains as "two kings, one rising in the ocean and the other in the desert and steppes"
The volcano and its surroundings comprise Teide National Park, which has an area of 18,900 hectares (47,000 acres) and was named a World Heritage Site by UNESCO on June 28, 2007. Teide is the most visited natural wonder of Spain, the most visited national park in Spain and Europe and – by 2015 – the eighth most visited in the world, with some 3 million visitors yearly. A major international astronomical observatory is located on the slopes of the mountain.

The cartographer
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a While. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783. Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit. Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.

___________________________________________
2022 - Wandering Vertexes...
by Francis Rousseau

Saturday, February 24, 2018

NEVADO HUASCARAN IN VINTAGE PRINTS 1908 & 1960





VINTAGE PRINTS 1908  & 1960
Nevado Huascaràn  (6,778m - 22,205ft) 
Peru 

1.  In The american alpinist Annie Smith Peck at the summit of Husacaràn Norte with Huascaràn Sur behind her, Archive photo,  September 2, 1908    
2.  In  Nevado Huascaran (Norte and Sur) seen from the Village Yungay, destroyed by an avalanche in 1970, Archive photo, 1960


The mountain 
Nevado Huascaràn is a mountain in the Peruvian province of Yungay, situated in the Cordillera Blanca range of the western Andes.  Nevado Huascaràn  is the highest point in Peru, the northern part of Andes (north of Lake Titicaca) and in all of the Earth's Tropics. Huascaràn is the fourth highest mountain in the Western Hemisphere and South America after Aconcagua, Ojos del Salado, and Monte Pissis.
The mountain has two distinct summits, the higher being the south one, Huascaran Sur (6,768 m-  -22,205 ft). and the north summit, Huascaran Norte (6, 654m - 21, 831ft). The core of Huascarбn, like much of the Cordillera Blanca, consists of Cenozoic era granite.
Huascaran gives its name to Huascaran National Park which surrounds it, and is a popular location for trekking and mountaineering. The Huascaran summit is one of the points on the Earth's surface farthest from the Earth's center, closely behind the farthest point, Chimborazo in Ecuador.
The mountain was named after Huбscar, a 16th-century Inca emperor who was the Sapa Inca of the Inca empire.
The summit of Huascaran is the place on Earth with the smallest gravitational force.
Climbing
The north peak (Huascaran Norte) had been first climbed on 2 September 1908 by a U.S. expedition that included Annie Smith Peck, albeit this first ascent is somewhat disputed
The summit of Huascaran Sur was first reached on 20 July 1932 by a joint German–Austrian expedition. The team followed what would become later the normal route (named today Garganta route).
On 31 May 1970, the Ancash earthquake caused a substantial part of the north side of the mountain to collapse. The avalanche mass, an estimated 80 million cubic metres (2.8 billion cubic feet) of ice, mud and rock, was about half a mile wide and a mile long. It advanced about 11 miles (18 km) at an average speed of 280 to 335 km/h (175 to 210 mph), burying the towns of Yungay  (in the second photo above) and Ranrahirca under ice and rock, killing more than 20,000 people. At least 20,000 people were also killed in Huaraz, site of a 1941 avalanche which killed over 6000 (see Palcacocha Lake). Estimates suggest that the earthquake killed over 66,000 people.
In 1989, a group of eight amateur mountaineers, the "Social Climbers", held what was recognised by the Guinness Book of Records (1990 edition) to be "the world's highest dinner party" on top of the mountain, as documented by Chris Darwin and John Amy in their book The Social Climbers, and raised Ј10,000 for charity.
Climbing Huascaran's has become increasingly dangerous due to climate change. On July 20, 2016, nine climbers were caught in an avalanche on Huascaran's normal route at approximately 5,800 m (19,000 ft), four of whom died.

Tuesday, May 30, 2023

LES ANDES ARGENTINES PEINTES PAR RHOD WULFARS

 

RHOD WULFARS (né en 1979) Andes du Sud (6, 991 m - 22, 838 FT) Argentine  In Andes from Mendoza,  acrylique sur panneau dur, 2018, Collection de l'artiste @rhodwulfars D'autres œuvres de cet artiste sur son site : rhodwulfars.wixsite.com/rhodwulfars/

RHOD WULFARS (né en 1979)
Andes du Sud (6, 991 m - 22, 838 ft)
Argentine

In Andes from Menodza,  acrylique sur panneau dur, 2018, Collection de l'artiste @rhodwulfars
D'autres œuvres de cet artiste sur son site : rhodwulfars.wixsite.com/rhodwulfars/


L'artiste
Rhod Wulfars est un peintre de montagne contemporain utilisant principalement la technique acrylique pour ses peintures. Il est né en 1979 à Mendoza (Argentine). Sur son site Internet, il écrit : "J'ai passé toute ma vie près des montagnes. Un jour, j'ai commencé à les peindre". Utilisant, à la manière de Nicolas de Staël, un style toujours entre abstrait et figuratif, ses peintures très fortes et très émouvantes décrivent parfaitement la majesté et le contenu spectaculaire des sommets qu'il peint. Rhod Wulfars fait un usage surprenant du médium acrylique, en pâte épaisse comme on pourrait le faire avec de la peinture à l'huile. Il avait l'habitude de ne nommer ses œuvres que par des chiffres et des lettres de série, mais parfois il écrit le nom des sommets et le rend plus facile à identifier.

A propos des tableaux
Le peintre écrit : " Ce n'est pas une vraie montagne. La plupart de mes peintures naissent de la combinaison de l'imagination et des heures passées à les regarder, à les parcourir et à les sentir. Elles ressemblent à ces reliefs de la Coridilla andine argentine appelés "acarreos", qui sont de longues pentes de roche meuble très populaires et facilement visibles. très fréquemment observée. Ce tableau est donc celui d'une montagne inconnue, rêvée qui en résume plusieurs, et qui est sortie de mon inconscient un après-midi où le pinceau lui a donné vie de façon mystérieuse sans que je puisse l'expliquer. " Le plus étonnant étant qu'ils le font d'un seul coup de pinceau aussi puissant et définitif que le soulèvement rocheux lui-même qui a crée ses reliefs.

Les montagnes
Les Andes (Cordillera de los Andes en espagnol) sont la plus longue chaîne de montagnes continentales du monde, formant un plateau continu le long de la bordure ouest de l'Amérique du Sud. Leur étendue est de 7000 km (4350 mi) de long, 200 à 700 km (124 à 435 mi) de large (la plus large entre 18 ° S et 20 ° S de latitude) et d'une hauteur moyenne d'environ 4000 m (13123 pieds). Les Andes s'étendent du nord au sud à travers sept pays d'Amérique du Sud : le Venezuela, la Colombie, l'Équateur, le Pérou, la Bolivie, le Chili et l'Argentine.
La Cordillère des Andes est la plus haute chaîne de montagnes en dehors de l'Asie. La plus haute montagne en dehors de l'Asie, le mont Aconcagua en Argentine, s'élève à une altitude d'environ 6 961 m (22 838 pieds) au-dessus du niveau de la mer. Le pic du Chimborazo dans les Andes équatoriennes est plus éloigné du centre de la Terre que tout autre endroit à la surface de la Terre, en raison du renflement équatorial résultant de la rotation de la Terre. Les plus hauts volcans du monde se trouvent dans les Andes, y compris Ojos del Salado à la frontière Chili-Argentine, qui culmine à 6 893 m (22 615 pieds).
Les Andes font également partie de la Cordillère américaine, une chaîne de chaînes de montagnes (cordillère) qui consiste en une séquence presque continue de chaînes de montagnes qui forment la "colonne vertébrale" occidentale de l'Amérique du Nord, de l'Amérique centrale, de l'Amérique du Sud et de l'Antarctique.

_________________________________________

2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau

Sunday, January 23, 2022

DEDO DE DEUS (2) PAINTED BY ELISEU VISCONTI

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

 

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


About this mainting
Eliseu Visconti painted a lot of times,the Dedo De Deus mountain in the Serra de Orgaos, in any season and in all possible light, at any time of day. It is THE  repetitive motif in his work, a bit like the Montagne Sainte-Victoire for Paul Cézanne or  the volcano Chimborazo for Frederic Edwin Church or Mount Everest for Nicholas Roerich.


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.
_______________________________

2022 - Wandering Vertexes...
by Francis Rousseau

Monday, September 18, 2023

LES ANDES DU SUD   PEINTES PAR   RHOD WULFARS (bn. 1979)

 

RHOD WULFARS (bn. 1979) Andes du Sud (6, 991 m - 22, 838 ft) Argentine  In Andes from Menodza, 2018, acrylique sur radiographie, 24 x 30cm, Collection de l'artiste  @rhodwulfars D'autres œuvres de cet artiste sur son site : rhodwulfars.wixsite.com/rhodwulfars/



RHOD WULFARS (bn. 1979)
Andes du Sud (6, 991 m - 22, 838 ft)
Argentine

In Andes from Mendoza, 2018, acrylique sur radiographie, 24 x 30cm, Collection de l'artiste

@rhodwulfars
D'autres œuvres de cet artiste sur son site : rhodwulfars.wixsite.com/rhodwulfars/



L'artiste
Rhod Wulfars est un peintre de montagne contemporain utilisant principalement la technique acrylique pour ses peintures. Il est né en 1979 à Mendoza (Argentine). Sur son site Internet, il écrit : "J'ai passé toute ma vie près des montagnes. Un jour, j'ai commencé à les peindre". Utilisant, à la manière de Nicolas de Staël, un style toujours entre abstrait et figuratif, ses peintures très fortes et très émouvantes décrivent parfaitement la majesté et le contenu spectaculaire des sommets qu'il peint. Rhod Wulfars fait un usage surprenant du médium acrylique, en pâte épaisse comme on pourrait le faire avec de la peinture à l'huile. Il avait l'habitude de ne nommer ses œuvres que par des chiffres et des lettres de série, mais parfois il écrit le nom des sommets et le rend plus facile à identifier.

A propos des tableaux
Le peintre écrit : " Ce n'est pas une vraie montagne. La plupart de mes peintures naissent de la combinaison de l'imagination et des heures passées à les regarder, à les parcourir et à les sentir. Elles ressemblent à ces reliefs de la Cordillera andine argentine appelés "acarreos", qui sont de longues pentes de roche meuble très populaires et facilement visibles. très fréquemment observée. Ce tableau est donc celui d'une montagne inconnue, rêvée qui en résume plusieurs, et qui est sortie de mon inconscient un après-midi où le pinceau lui a donné vie de façon mystérieuse sans que je puisse l'expliquer. " Le plus étonnant étant qu'ils le font d'un seul coup de pinceau aussi puissant et définitif que le soulèvement rocheux lui-même qui a crée ses reliefs.

Les montagnes
Les Andes (Cordillera de los Andes en espagnol) sont la plus longue chaîne de montagnes continentales du monde, formant un plateau continu le long de la bordure ouest de l'Amérique du Sud. Leur étendue est de 7000 km (4350 mi) de long, 200 à 700 km (124 à 435 mi) de large (la plus large entre 18 ° S et 20 ° S de latitude) et d'une hauteur moyenne d'environ 4000 m (13123 pieds). Les Andes s'étendent du nord au sud à travers sept pays d'Amérique du Sud : le Venezuela, la Colombie, l'Équateur, le Pérou, la Bolivie, le Chili et l'Argentine.
La Cordillère des Andes est la plus haute chaîne de montagnes en dehors de l'Asie. La plus haute montagne en dehors de l'Asie, le mont Aconcagua en Argentine, s'élève à une altitude d'environ 6 961 m (22 838 pieds) au-dessus du niveau de la mer. Le pic du Chimborazo dans les Andes équatoriennes est plus éloigné du centre de la Terre que tout autre endroit à la surface de la Terre, en raison du renflement équatorial résultant de la rotation de la Terre. Les plus hauts volcans du monde se trouvent dans les Andes, y compris Ojos del Salado à la frontière Chili-Argentine, qui culmine à 6 893 m (22 615 pieds).
Les Andes font également partie de la Cordillère américaine, une chaîne de chaînes de montagnes (cordillère) qui consiste en une séquence presque continue de chaînes de montagnes qui forment la "colonne vertébrale" occidentale de l'Amérique du Nord, de l'Amérique centrale, de l'Amérique du Sud et de l'Antarctique.

_________________________________________

2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau

Monday, November 1, 2021

COFRE DE PEROTE / NAUPA-TECVUTÉPTL SKETCHED BY ALEXANDER VON HUMBOLDT


ALEXANDER VON HUMBOLDT  (1769-1859), Cofre de Perote/ Naupa-Tecutépetl (4,282 m (14,049 ft) Mexico

 

ALEXANDER VON HUMBOLDT (1769-1859),
Cofre de Perote/ Naupa-Tecutépetl (4,282 m (14,049 ft)
Mexico

 The mountain
Cofre de Perote, also known by its Nahuatl names Naupa-Tecutépetl ,  meaning something like "Place of Four Mountain" or "Mountain of the Lord of Four Places", is an inactive volcano located in the Mexican state of Veracruz, at the point where the Trans-Mexican Volcanic Belt, home to all of Mexico's highest peaks, joins the Sierra Madre Oriental. Cofre de Perote is Mexico's eighth highest mountain summit.
Cofre de Perote is a shield volcano, shaped very differently from the stratovolcanic Pico de Orizaba, which lies about 50 km (31 mi) to the southeast. A cofre is a coffer, and the name alludes to a volcanic outcropping on the shield which constitutes the peak of the mountain. To the north is the town of Perote, Veracruz, after which the mountain is named. The area surrounding the volcano was protected by the Mexican government as a national park, known as Cofre de Perote National Park (Parque Nacional Cofre de Perote), in 1937.

The artist
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a while. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783. Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit. Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.
___________________________________________
2021 - Wandering Vertexes...
by Francis Rousseau

Saturday, June 16, 2018

EL PINCHICHA BY ALEXANDER VON HUMBOLDT



ALEXANDER VON HUMBOLDT  (1769-1859)
El Pinchicha (4,784 m -15,696 ft)
Ecuador

In  El  Pinchicha  Vues des Cordillères et Monumens des Peuples Indigènes de l’Amérique,
gravure, published in Paris by F. Schoell in 1810  

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

The artist
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a While. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783.  Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha (above)  and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit.  Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.


Tuesday, November 15, 2016

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.

Wednesday, May 29, 2019

EL COTOPAXI BY ALEXANDER VON HUMBOLDT







ALEXANDER VON HUMBOLDT (1769-1859) 
Cotopaxi (5,897 m - 19,347 ft) 
Ecuador 

The mountain
El 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 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 artist
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a while. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783. Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit. Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings. 

___________________________________________
2019 - Wandering Vertexes...
by Francis Rousseau

Tuesday, January 16, 2018

KORYAKSKY BY FRIEDRICH GEORG WEITSCH



FRIEDRICH GEORG WEITSCH (1758-1828)
Koryaksky (3,456 m -11,339 ft) or Koryakskaya Sopka
Russia (Kamchatka Peninsula) 

 In  Johann von Krusenstern in Avacha Bay, 1806, Oil on canvas, Herzog Anton Ulrich Museum  

The mountain 
Koryaksky 3,456 m (11,339 ft) or Koryakskaya Sopka Коря́кская со́пка)  is an active volcano on the Kamchatka Peninsula in the Russian Far East, the asian part of russia. It lies within sight of Kamchatka Krai's administrative center, Petropavlovsk-Kamchatsky. Together with neighbouring Avachinsky, it has been designated a Decade Volcano, worthy of particular study in light of its history of explosive eruptions and proximity to populated areas.
Koryaksky lies on the Pacific Ring of Fire, at a point where the Pacific Plate is sliding underneath the Eurasian Plate at about 80 mm/year. A wedge of mantle material lying between the subducting Pacific Plate and the overlying Eurasian Plate is the source of dynamic volcanism over the whole Kamchatka Peninsula. The volcano has probably been active for tens of thousands of years. Geological records indicate that there have been three major eruptions in the last 10,000 years, at 5500 BC, 1950 BC and 1550 BC. These three eruptions seem to have been mainly effusive, generating extensive lava flows. Koryaksky erupted for the first time in recorded history in 1890. The eruption was characterised by lava emissions from fissures that opened up on the volcano's southwestern flank, and by phreatic explosions. It was thought to have erupted again five years later, but it was later shown that no eruption had occurred; what was thought to be an eruption column was simply steam generated by strong fumarolic activity. Another brief, moderately explosive eruption occurred in 1926, after which the volcano lay dormant until 1956. The 1956 eruption was more explosive than the previous known eruptions, with VEI=3, and generated pyroclastic flows and lahars. The eruption continued until June 1957. On December 29, 2008, Koryaksky erupted with a 6,000 m (20,000 ft) plume of ash, the first major eruption in 3,500 years.
In light of its proximity to Petropavlovsk-Kamchatsky, Koryaksky was designated a Decade Volcano in 1996 as part of the United Nations' International Decade for Natural Disaster Reduction, together with the nearby Avachinsky volcano.

The painter 
Friedrich Georg Weitsch was a German painter and etcher. Weitsch began his artistic training with his father, "Pascha" Johann Friedrich Weitsch (1723–1803). He attended the Kunstakademie Düsseldorf. After traveling to Amsterdam and Italy between 1784 and 1787, he returned home and became court painter to Charles William Ferdinand, Duke of Brunswick.  In 1794 he became a member of the Berlin Academy of Art and became its director in 1798 (succeeding Bernhard Rode).  His work included landscapes, history and religious painting, and portraits of royal and civil authorities—the latter showing the influence of Anton Graff.  Some are held at the Herzog Anton Ulrich Museum, the Städtisches Museum, and the Braunschweigisches Landesmuseum, all in Braunschweig.  He painted the very famous painting of the Chimborazo  featuring the portrait of Alexander von Humboldt with  landscape he imagined as well as the portrait of Aimé Bonpland and Carlos Montufarin Ecuador, he never saw.
_______________________________
2018 - Wandering Vertexes...
by Francis Rousseau 

Tuesday, December 3, 2019

NEVADO HUASCARAN IN VINTAGE POSTCARD 1946



VINTAGE POSTCARD 
Nevado Huascaràn (6,778m - 22,205ft) 
Peru 

In Postal Peru de Foto Sotopaytor, 1946 

The mountain
Nevado Huascaràn  (6,778m - 22,205ft) is a mountain in the Peruvian province of Yungay, situated in the Cordillera Blanca range of the western Andes. Nevado Huascaràn is the highest point in Peru, the northern part of Andes (north of Lake Titicaca) and in all of the Earth's Tropics. Huascaràn is the fourth highest mountain in the Western Hemisphere and South America after Aconcagua, Ojos del Salado, and Monte Pissis.
The mountain has two distinct summits, the higher being the south one, Huascaran Sur (6,768 m- -22,205 ft). and the north summit, Huascaran Norte (6, 654m - 21, 831ft). The core of Huascarбn, like much of the Cordillera Blanca, consists of Cenozoic era granite.
Huascaran gives its name to Huascaran National Park which surrounds it, and is a popular location for trekking and mountaineering. The Huascaran summit is one of the points on the Earth's surface farthest from the Earth's center, closely behind the farthest point, Chimborazo in Ecuador.
The mountain was named after Huбscar, a 16th-century Inca emperor who was the Sapa Inca of the Inca empire.
The summit of Huascaran is the place on Earth with the smallest gravitational force.

______________________________
2019 - Wandering Vertexes
Un blog de Francis Rousseau


Friday, October 12, 2018

EL CAYAMBE BY ALEXANDER VON HUMBOLDT


http://wanderingvertexes.blogspot.com

ALEXANDER VON HUMBOLDT  (1769-1859) 
 Cayambe  (5,790 m -19,000 ft)
 Ecuador

  In Vues des Cordillères et Monumens des Peuples Indigènes de l’Amérique  
book published in 1816 in Paris,  University of Ottawa 

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 cartographer and painter  
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a while. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783.  Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit.  Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.

2018 - Wandering Vertexes...
by Francis Rousseau 


Wednesday, June 16, 2021

EL JORULLO SKETCHED BY ALEXANDER VON HUMBOLDT

 

ALEXANDER VON HUMBOLDT (1769-1859) El Jorullo (1,329m- 4,360ft) Mexico   In Volcan de Jorullo,  Vue des Coridllères et monumens des peuples indigènes de l'Amérique, 1816, Paris chez F. Schoell.

 ALEXANDER VON HUMBOLDT (1769-1859)
El Jorullo (1,329m- 4,360ft)
Mexico

 In Volcan de Jorullo,  Vue des Coridllères et monumens des peuples indigènes de l'Amérique, 1816, Paris chez F. Schoell.


About this drawing
Alexander von Humboldt climbed El Jorullo during the Mexican portion of his scientific expedition to Spanish America. When he visited on 19 September 1803, its multiple cones were still smoldering and the air was extremely hot and filled with volcanic gases. He wrote a detailed description of the climb, noting that his face and those of his travel companions were burned. The volcano enriched the local soil and there was considerable vegetation. Humboldt sketched the volcano in the distance (see above), showing multiple smoking cones. Humboldt undertook the climb with his scientific travel partner Aimé Bonpland, as well as a local Basque settler Ramón Epelde, and two local indigenous servants, whose names have not been recorded. Humboldt noted their assistance on site. Humboldt also notes that he consulted a 1782 publication Rusticatio Mexicana, by Rafael Landívar, who calculated the height of the volcano and the temperature of the thermal waters.


The volcano
El Jorullo  (1,329m- 4,360ft) is a cinder cone volcano in Michoacán, central Mexico, on the southwest slope of the central plateau, 33 miles (53 kilometers) southeast of Uruapan in an area known as the Michoacán-Guanajuato volcanic field.  It is about 6 miles (10 km) east-northeast of La Huacana.  El Jorullo has four smaller cinder cones which have grown from its flanks.  El Jorullo's crater is about 1,300 by 1,640 feet (400 by 500 m) wide and 490 feet (150 m) deep.   El Jorullo is one of two known volcanoes to have developed in Mexico in recent history. The second, born about 183 years later, was named Parícutin after a nearby village that it eventually destroyed. Parícutin is about 50 miles (80 km) northwest of El Jorullo. El Jorullo was first erupted on 29 September 1759. Earthquakes occurred prior to this first day of eruption. Once the volcano started erupting, it continued for 15 years, eventually ending in 1774.
El Jorullo did not develop on a corn field like Parícutin did, but it did destroy what had been a rich agricultural area. It grew approximately 820 feet (250 meters) from the ground in the first six weeks. The eruptions from El Jorullo were primarily phreatic and phreatomagmatic. This 15 year eruption was the longest one El Jorullo has had, and was the longest cinder cone eruption known. Lava flows can still be seen to the north and west of the volcano.  Parícutin and El Jorullo both rose in an area known for its volcanoes. Called the Trans-Mexican Volcanic Belt, the region stretches about 700 miles (1,120 km) from east to west across southern Mexico. The eruptive activity deposited a layer of volcanic rock some 6,000 feet thick, creating a high and fertile plateau. During summer months, the heights snag moisture-laden breezes from the Pacific Ocean; rich farmland, in turn, has made this belt the most populous region in Mexico. Though the region already boasted three of the country's four largest cities: Mexico City, Puebla, and Guadalajara (the area around Parícutin, some 200 miles west of the capital), it was still a peaceful backwater inhabited by Purépecha in the early 1940s. The crater and lake can now be reached by car.


The artist
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a while. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783. Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit. Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.

___________________________________________ 


2021 - Wandering Vertexes and Mountain paintings 
by Francis Rousseau

Sunday, October 24, 2021

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

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


Saturday, October 30, 2021

SOUTHERN ANDES (2) PAINTED BY RHOD WULFARS

 

RHOD WULFARS (bn. 1979), Southern Andes (6,991 m - 22, 838ft) Argentina  In Somewhere in Andes , acrylic on hardboard, 2018, Private collection @rhodwulfars

 
RHOD WULFARS (bn. 1979)
Southern Andes (6,991 m - 22, 838ft)
Argentina

In Somewhere in Andes, acrylic on hardboard, 2018, Private collection @rhodwulfars


About this painting
The painter wrote: “It is not a real mountain. Most of my paintings are born from the combination of the imagination and the hours spent looking, walking and smelling them. I call them "Twins" because they are similar to those reliefs of the Argentinian Andean Coridilla called "acarreos", which are long slopes of very popular loose rock that can be easily viewed. very frequently observed. This painting is therefore that of an unknown mountain, dreamt up which sums up several, and which came out of my unconscious one afternoon when the brush gave it life in a mysterious way without my being able to explain it. "
And indeed this mountain that looks a lot like the Alpamayo in Peru is not the Alpamayo (even if it could be the most famous South West face to be published very soon in this blog) !), any more than it is not the Cerro Poincenot, the Fitz Roy, the Cerro Torre or the Aconcagua, the highest peak in the Andes. These Twins imagined, encompassed, summarized and illustrated all these mountains at the same time. The most amazing being that they do it with a single stroke of the brushes as powerful and definitive as the rocky uplift itself.

The artist
Rhod Wulfars is a contemporary mountain painter using mainly acrylic technique for his paintings.
He was born in 1979 in Mendoza (Argentina). In his website he wrote: "I have spent my whole life by the mountains. On day I started to paint them". Using, in the manner of Nicolas de Staël, a style always beetween abstract and figurative, his very strong and very moving paintings described perfectly the majesty and the spectacular contents of the peaks he paints. Rhod Wulfars makes a surprising use of acrylic medium, in thick paste as one could do with oil paint. He used to named his works only bu numbers, and series letters, but sometime he writes the name of the peaks ans makes it more easy to identify. Other works by this artist on his website : rhodwulfars.wixsite.com/rhodwulfars/

The mountains
The Andes, Andes Mountains or Andean Mountains (Cordillera de los Andes in Spanish ) are the longest continental mountain range in the world, forming a continuous highland along the western edge of South America. The range is 7,000 km (4,350 mi) long, 200 to 700 km (124 to 435 mi) wide (widest between 18°S - 20°S latitude), and has an average height of about 4,000 m (13,123 ft). The Andes extend from north to south through seven South American countries: Venezuela, Colombia, Ecuador, Peru, Bolivia, Chile, and Argentina.
The Andes Mountains are the highest mountain range outside Asia. The highest mountain outside Asia, Argentina's Mount Aconcagua, rises to an elevation of about 6,961 m (22,838 ft) above sea level. The peak of Chimborazo in the Ecuadorian Andes is farther from the Earth's center than any other location on the Earth's surface, due to the equatorial bulge resulting from the Earth's rotation. The world's highest volcanoes are in the Andes, including Ojos del Salado on the Chile-Argentina border, which rises to 6,893 m (22,615 ft).
The Andes are also part of the American Cordillera, a chain of mountain ranges (cordillera) that consists of an almost continuous sequence of mountain ranges that form the western "backbone" of North America, Central America, South America and Antarctica.

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2021 - Wandering Vertexes...
by Francis Rousseau

Saturday, December 15, 2018

THE ILLINIZAS PAINTED BY RAFAEL TROYA


RAFAEL TROYA (1845 - 1920) 
Illiniza Sur  (5,248 m-17, 218ft)
Illiniza Norte 5,126 m-  16, 818ft)
Ecuador

In El Illiniza. Tomado del socabón del Quilotoa oil on canvas, 1912, 52 x 67 cm. 
Colección Banco Central del Ecuador, Guayaquil

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 
Rafael Troya (1845-1920) was an Ecuadorian painter born, the son of the painter Vicente Troya. Being a teenager, he is taken to the Colegio de la Compañia de Jesus in Quito, but he soon abandons the clerical career to dedicate himself to what was his true vocation: painting. With the painter Luis Cadena, he learns the technique of colors. In 1872, he definitely choose the landscape and accompanied  Reis and Stübel on their study trips in Ecuador on Nature and Archeology. Troya becomes the portraitist of nature, painting compositions full of color and life. In 1890 he came back in the capital of Imbabureña, and decided to be completely dedicated to his art. There he made several masterpieces, such as the paintings on the Apostles, which today are admired in the Ibarra Cathedral, the Ibarra Foundation, preserved in the Hall of the city of Ibarra; Allegory of love, panoramic view of Ibarra; The earthquake of Imbabura, and several religious canvases that are conserved in some churches of Quito, in the church of Caranqui and in the Museum of the Central Bank of Quito. In his paintings, green and bluish tones predominate, characteristic of his native land. He painted a lot of mountains of the Andes and  the most famous volcanoes of the Cordillera.

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2018 - Wandering Vertexes...
by Francis Rousseau

Wednesday, January 24, 2018

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