GLARAMARA PAINTED BY JOHN CONSTABLE

JOHN CONSTABLE (1776-1837) 

Glaramara (783m - 2,569 ft)   

United Kingdom

 In  View toward Glaramara, 1806- V & A museum. London 

The mountain 

Glaramara is a fell in the English Lake District in Cumbria. It is a substantial fell that is part of a long ridge that stretches for over six kilometres from Stonethwaite in Borrowdale up to the important mountain pass of Esk Hause. The summit of Glaramara at 783 m (2,569 ft) is the central point of this ridge, which separates the valleys of Langstrath and Grains Gill. However, the ridge has two additional fells, numerous subsidiary tops and several small tarns making its traverse an appealing and challenging walk.
The fell's unusual and pleasant-sounding name, previously only applied to the summit rocks, has now been accepted as the name for the whole fell. Like many fells of the district the name comes from a series of Old Norse words which in this case is translated as “Hill with the mountain hut by a chasm”.
The direct ascent of the fell is usually started from the Borrowdale road midway between Rosthwaite and Seatoller. From here it is possible to ascend on either of the ridges to the east or west of Combe Gill, the east ridge being the best because it allows for the climbing of Rosthwaite Fell and its subsidiary summit of Dovenest Top (632 m). On this route two other tops of Glaramara, Combe Door Top (676 m) and Combe Head (735 m), are passed over. Both of these are Nuttalls. Combe Head gives fine views down into Combe Gill and from here it is short climb to the twin summits of Glaramara.
Reference :
 - Wikipedia  

The painter

John Constable was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home—now known as "Constable Country"— which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling".
His most famous paintings include Wivenhoe Park of 1816, Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art, Constable was never financially successful. He did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. His work was embraced in France, where he sold more works than in his native England and inspired the Barbizon school.
Constable quietly rebelled against the artistic culture that taught artists to use their imagination to compose their pictures rather than nature itself. He told Leslie, "When I sit down to make a sketch from nature, the first thing I try to do is to forget that I have ever seen a picture".
Constable was never satisfied with following a formula. "The world is wide", he wrote, "no two days are alike, nor even two hours; neither were there ever two leaves of a tree alike since the creation of all the world; and the genuine productions of art, like those of nature, are all distinct from each other."  Constable painted many full-scale preliminary sketches of his landscapes to test the composition in advance of finished pictures. These large sketches, with their free and vigorous brushwork, were revolutionary at the time, and they continue to interest artists, scholars and the general public. The oil sketches of The Leaping Horse and The Hay Wain, for example, convey a vigour and expressiveness missing from Constable's finished paintings of the same subjects. Possibly more than any other aspect of Constable's work, the oil sketches reveal him in retrospect to have been an avant-garde painter, one who demonstrated that landscape painting could be taken in a totally new direction.
Constable's watercolours were also remarkably free for their time: the almost mystical Stonehenge, 1835, with its double rainbow, is often considered to be one of the greatest watercolours ever painted.[21] When he exhibited it in 1836, Constable appended a text to the title: "The mysterious monument of Stonehenge, standing remote on a bare and boundless heath, as much unconnected with the events of past ages as it is with the uses of the present, carries you back beyond all historical records into the obscurity of a totally unknown period."
The sketches themselves were the first ever done in oils directly from the subject in the open air. To convey the effects of light and movement, Constable used broken brushstrokes, often in small touches, which he scumbled over lighter passages, creating an impression of sparkling light enveloping the entire landscape.
Reference 
 - John Constable website

THE ROSENBERG / RUZAK PAINTED BY CASPAR DAVID FRIEDRICH

CASPAR DAVID FRIEDRICH  (1774-1840)

The Rosenberg / Růžák (619 m  - 2,031 ft)

Czech  Republic

In Landscape with the Rosenberg in Bohemian Switzerland, watercolour on paper.

The mountain 

The Rosenberg  (619m  - 2,031 ft)  also Růžák or Růžovský vrch, is the dominant mountain in the Bohemian Switzerland east of the River Elbe in the Czech Republic. Its almost circular cone shape makes it one of the most typical representatives of the mountains of North Bohemia. The upper part of the mountain is made of basalt, whilst at its foot sandstone is also found. The flanks of the mountain are covered by an almost virgin deciduous forest, in which mighty beech and sycamore are especially impressive. Since 1973 the mountain has been protected as a national nature reserve and, since 2000, it has lain within the core zone of the Bohemian Switzerland National Park.

The painter 

Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".

Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".

Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip B. Miller, "half mad". As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterized its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect.  It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.

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

MILESOVKA PAINTED BY CASPAR DAVID FRIEDRICH

 

CASPAR DAVID FRIEDRICH (1774-1840)
Milešovka (837m - 2, 746ft)
Czech Republic

In Mountain Landscape with Rainbow ca.1809-1810, Museum Folkwang, Essen, Germany

 
The mountain
Milešovka (837m - 2, 746 ft), an isolated phonolite cone, is the highest mountain of České Středohoří (Czech Central Mountains Range), a picturesque mountain range in northwest Bohemia, in Czech Republic. Situated right in the middle of the European Continent, it has a volcanic origin. The range covers an area of more than 1000 km2 with many hills typically volcano shaped. Their unique appearance were attracting numbers of naturalists, painters, poets and nature-lovers.
Mount Milešovka is located over the village of Milesov about 10km northwestward of Lovosice. The peak is ranked among the most windy mountains in Czech Republic. The very first chalet had been built up in 1825, other buildings soon followed as well as the outlook tower in 1850. The famous traveler Alexander von Humboldt is responsible for their construction, he labeled the view from Milesovka as "the third most beautiful in the world", making it really worth visiting. From there, one can see the scenery view of Ceske Stredohori, the Polabska nizina lowlands and the ridge of the Krusne hory mountains. Milesovka adjoins with a peak called Paskapole which is crossed by the road connecting Prague with Teplice.


The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization"....
- More informations about Caspar David Friedrich life and work 

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2022 - Wandering Vertexes...
Un blog de Francis Rousseau

SZERNICA PAINTED BY CASPAR DAVID FREIDRICH

CASPAR DAVID FRIEDRICH (1774-1840)

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

Poland - Czech Republic border

  In Landscape in the Riesengebirge, 1798, watercolor  

The mountain

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

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

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

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2018 - Wandering Vertexes...
by Francis Rousseau 

LE RIGI PEINT PAR J.M.W. TURNER

J.M.W. TURNER (1775-1851)
Rigi (1 797 m - 5 897 ft)
Suisse

In "Lake Lucerne, with the Rigi" , vers 1840 - 1849, Crayon et aquarelle rehaussé de touches de blanc, 24,8 x 36,2 cm, Collection Privée

La montagne
Le Rigi (1 797 m - 5 897 ft), également connu sous le nom de Reine des montagnes) est un massif montagneux des Alpes, situé en Suisse centrale. L'ensemble du massif est presque entièrement entouré par les eaux de trois plans d'eau différents : le lac des Quatre-Cantons, le lac de Zoug et le lac Lauerz. La chaîne se trouve dans les Alpes de Schwyz et est divisée entre les cantons de Schwyz et de Lucerne, bien que le sommet principal, nommé Rigi Kulm, à 1 798 mètres d'altitude, se trouve dans le canton de Schwyz. Techniquement, le Rigi ne fait pas partie des Alpes et appartient plutôt au plateau suisse. Il est principalement composé de molasse et d'autres conglomérats, par opposition au schiste grison et au flysch des Alpes.
Le Rigi Kulm et d'autres régions, telles que la station balnéaire de Rigi Kaltbad, sont desservies par les plus anciens chemins de fer de montagne d'Europe, les Rigi Railways. Les Chemins de fer suisses proposent une excursion spéciale aller-retour, le "Rigi-Rundfahrt", couvrant plusieurs segments en train, en train à crémaillère, en gondole (en option) et en bateau à vapeur. Toute la région offre de nombreuses activités telles que le ski ou la luge en hiver et la randonnée en été.
Le nom Rigi vient du vieux haut allemand « rîga » qui signifie « rangée, rayure, sillon », d'après la stratification bien visible sur le versant nord de la montagne. Le nom est enregistré pour la première fois en 1350 sous le nom de Riginun. Le nom a été interprété comme Regina montium "reine des montagnes" par Albrecht von Bonstetten (1479), qui donne cependant Rigena comme forme alternative.
Le mont Rigi a été présenté dans de nombreuses œuvres d'art, y compris des peintures et des publications littéraires. Les peintures les plus célèbres du Rigi étaient peut-être la série de J.M.W. Turner dont plusieurs sont dans la collection de la Tate Britain à Londres.


Le peintre
Joseph Mallord William Turner, plus connu sous le nom de William Turner ou de ses initiales J. M. W. Turnera, est un peintre, aquarelliste et graveur britannique,. Initialement de la veine romantique anglaise, son œuvre est marquée par une recherche novatrice audacieuse qui le fait considérer, avec son contemporain John Constable, comme un précurseur de l'impressionnisme, voir même d'une certaine abstraction. Renommé pour ses huiles, Turner est également un des plus grands maîtres anglais de paysages à l'aquarelle. Il y gagne le surnom de « peintre de la lumière ». La plus grande partie des œuvres de Turner est conservée à la Tate Britain. Il efut influencé par des artistes tels que Willem van de Velde le Jeune, Albert Cuyp, John Robert Cozens, Richard Wilson, Claude Gellée (« Claude le Lorrain ») ou encore Nicolas Poussin. Influencé par la Recherche philosophique sur l'origine de nos idées du Sublime et du Beau d'Edmund Burke datée de 1757, Turner intégra le concept du Sublime dans certaines de ses œuvres, à commencer par Bateaux hollandais dans la tempête, mettant en scène un spectacle terrifiant et à la fois délicieux. Il travailla d'abord la gravure avant l'aquarelle puis la peinture. D'après ses propres souvenirs, il fut marquépar une suite de 16 pièces gravées en clair-obscur d'Elisha Kirkall (1722) d'après Van de Velde le Jeune À partir de 1802, l'envie de voyager le conduit sur le continent européen, principalement en France et en Suisse, d'où il rapporte, évidemment, des aquarelles mais aussi le goût pour certains artistes, comme le Lorrain et ses représentations de la mythologie. Turner peint ainsi des fresques antiques comme Didon construisant Carthage en 1815. Il s'inspire aussi du Liber Veritatis du Lorrain en ce qui concerne son ouvrage, Liber Studiorum, établissant ainsi une classification des différents types de paysages : Marine, Montagne, Pastorale, Historique, Architecturale et Pastorale épique. Il n'hésite pas à tester des combinaisons étranges d'aquarelle et d'huile ainsi que de nouveaux produits dans ses toiles.  Parfois, il utilise même des matériaux inhabituels comme le jus de tabac et la bière vieillie, avec pour conséquence la nécessité des restaurations régulières de ses œuvres. Le peintre et critique d'art George Beaumont qualifie Turner et ses suiveurs comme Callcott de « peintres blancs » car ils mettent au point dès le début du 19e siècle l'utilisation d'un fond blanc pour donner à leurs tableaux la fraîcheur des couleurs et la luminosité, permettant le passage direct des effets de l'aquarelle dans la peinture à l'huile, 3 effets tout à fait différents de ceux obtenus avec les fonds rouges ou bruns traditionnels des anciens Maîtres ".
Son passage d'une représentation plus réaliste à des œuvres plus lumineuses, à la limite de l'imaginaire (Tempête de neige en mer), se fait après un voyage en Italie en 1819 (Campo Santo de Venise). Turner montre le pouvoir suggestif de la couleur, ainsi, son attirance pour la représentation des atmosphères le place pour des critiques d'art comme Clive Bell, comme un précurseur de la modernité en peinture et de l'impressionnisme jusqu'à devenir « le peintre des incendies ». Mais il peint rarement sur le motif contrairement aux impressionnistes, qui feront de cette pratique une règle. Il préfère en effet recomposer en atelier les nuances des paysages, aidé de sa grande mémoire des couleurs. D'autres critiques préfèrent pousser plus loin encore leur analyse en voyant dans l'absence de lignes et de points de fuite ou la dissolution de la forme dans la couleur, notamment dans les paysages marins de Turner, les prémices de l'abstraction lyrique, voire de l'action painting en gestation. 


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

EQUINOX MOUNTAIN PAINTED BY ROCKWELL KENT

ROCKWELL KENT (1882-1971) 

Equinox Mountain (1,170 m- 3,840 ft) in 1919-25 

Vermont - USA

The mountain
Equinox Mountain (1,170 m- 3,840 ft) is located in Bennington County, Vermont, United States, in the town of Manchester. The mountain is the highest peak of the Taconic Range, and the highest point of Bennington County. It is one of thirteen peaks in Vermont with a topographic prominence over 2,000 feet (610 m), ranked third behind Mansfield and Killington. Equinox is the second highest peak in southern Vermont, after Stratton Mountain.

A small, abandoned Cold War-era NORAD radar station can be seen near the summit. The site is now used for two-way communications including the Vermont State Police, and  radio stations.

An abandoned, now collapsed tunnel boring dating to the mid-1960s would have provided access to a subterranean cryonics receptacle for humans placed in low-temperature suspension. The tunnel project site is located on the northwest slope of the peak near the 2,800-foot (850 m) level. A private Vermont-based firm, Renew, Inc., had planned to preserve the bodies of several prominent high-IQ individuals for future reawakening. The project was hastily abandoned due to fraud allegations.

The Charterhouse of the Transfiguration monastery is situated on the slopes of the mountain. Equinox Mountain can be climbed by several different hiking trails.

Adjacent to the larger Equinox Mountains is Little Equinox, where two wind farms have previously operated. One wind turbine was installed in 1981 and three more in 1982, making Little Equinox Mountain the site of one of the first wind farms in the United States. These turbines, an early-generation design by WTG Systems of Buffalo, New York, were mounted on 80-foot (24 m) truss towers and had a nominal peak output of 350 kW. The turbines, however, were plagued with mechanical issues, and by the mid-1980s all four were out of service, standing idle on the mountain from 1985 through 1989.

Green Mountain Power began operating the site in 1988, erecting a wind measurement tower and removing the four old turbines. It installed two U.S. Windpower 100 kW turbines in 1990, which ran for four years making electricity. Green Mountain Power removed its turbines and measurement tower in 1994. The company now owns the Searsburg Wind Farm in Searsburg, Vermont.

Endless Energy Corporation, a wind farm development company based in Maine, has expressed interest in the site for a modern wind farm. They have conducted wind measurements as well as environmental studies of Little Equinox Mountain. To build a wind farm in Vermont, the developer needs to go through the Public Service Board's Section 248 application process.

The Taconic Range ridgeline continues to the north from Equinox Mountain as Mother Myrick Mountain and south as Red Mountain; it is flanked to the west by Bennetts Ridge and Bear Mountain, also of the Taconic Range, and to the east by the western escarpment and plateau of the Green Mountains, across the Batten Kill valley. The southeast side of Equinox Mountain drains into the Batten Kill, thence into the Hudson River, and into New York Harbor. The northwest side of Equinox drains into the Green River, a tributary of the Batten Kill.

Reference

- Peakbagger.com

- Equinox Mountain in Wikipedia 

The painter

Rockwell Kent, artist, author, and political activist, had a long  and varied career. During his lifetime, he worked as an architectural draftsman, illustrator, printmaker, painter, lobsterman, ship's carpenter, and dairy farmer. Born in Tarrytown Heights, New York, he lived in Maine, Newfoundland, Alaska, Greenland, and the Adirondacks and explored the waters around Tierra del Fuego in a small boat. Kent's paintings, lithographs, and woodcuts often portrayed the bleak and rugged aspects of nature; a reflection of his life in harsh climates.

Kent had an unusually long and thorough training as an artist. He was a student at the Horace Mann School in New York City and subsequently studied architecture at Columbia University, toward the end of which he felt a strong inclination toward painting and took up the study of art under William Merritt Chase at the Shinnecock Hills School. He studied later at the New York School, under Robert Henri and Kenneth Hayes Miller, and finally as an apprentice to Abbott Thayer at Dublin, New Hampshire. Henri encouraged him to go to Monhegan Island where Kent painted on his own. He was absorbed in the awesome power of the environment; nature's timeless energy and contrasting forces influenced his work throughout his lifetime. His early and lasting relationship with the sea was portrayed again and again in his work.

The graphic art tradition in which Rockwell Kent worked was not that of the Post-Impressionist or abstract International style, but rather an older and somewhat English style. Hogarth, Blake, Constable, the Pre-Raphaelites, and the British illustrators were his artistic antecedents. His work is most frequently identified with that of the American Social Realists and the great muralists of the 1920s and 1930s. 

His experience as a carpenter and builder and his familiarity with tools served him well when he took up the graphic process. His blocks were marvels of beautiful cutting, every line deliberate and under perfect control. The tones and lines in his lithography were solidly built up, subtle, and full of color. He usually made preliminary studies- old-mater style- for composition or detail before starting on a print. Nothing was vague or accidental about his work; his expression was clear and deliberate. Neither misty tonalities nor suggestiveness were to his taste. He was a highly objectified art - clean, athletic, sometimes almost austere and cold. He either recorded adventures concretely, or dealt in ideas. His studio was a model of the efficient workshop: neat, orderly, with everything in its place. His handwriting, the fruit of his architectural training, was beautiful and precise. 

When Kent died of a heart attack in 1971, The New York Times described him as "... a thoughtful, troublesome, profoundly independent, odd and kind man who made an imperishable contribution to the art of bookmaking in the United States."  Richer, more accurate accounts of the scope of the artist's influential career as a painter and writer have since superseded this cursory summing-up of an American life. Retrospectives of the artist's paintings and drawings have been mounted, most recently by The Rooms in St. John's, Newfoundland, where the exhibition Pointed North: Rockwell Kent in Newfoundland and Labrador was curated by Caroline Stone in the summer of 2014. Other recent exhibitions include the Richard F. Brush Art Gallery and Owen D. Young Library at St. Lawrence University (Canton, New York) in the autumn of 2012; the Farnsworth Art Museum (Rockland, Maine) during the spring through autumn of 2012; the Bennington Museum in Vermont during the summer of 2012; and the Philadelphia Museum of Art in the spring through summer of 2012. An exhibition marking the centennial of Kent's time in Winona, Minnesota, took place there in 2013. Among the many notes of increasing awareness of Kent's contributions to American culture is the reproduction of one of Kent's pen-and-ink drawings from Moby Dick on a U.S. postage stamp, part of the 2001 commemorative panel celebrating such American illustrators as Maxfield Parrish, Frederic Remington, and Norman Rockwell.

Noted American and Canadian writers in recent years have found much gold to mine in Kent's improbable personal and public life. The year he spent in Newfoundland, for example, is fictionally (and very loosely) recalled by Canadian writer Michael Winter in The Big Why, his 2004 Winterset Award-winning novel. And certain qualities of the protagonist of Russell Banks's 2008 novel The Reserve are inspired by aspects of Kent's complex personality. Kent's work also figures in Steve Martin's 2010 novel An Object of Beauty and is the subject of a chapter in Douglas Brinkley's 2011 history The Quiet World: Saving Alaska's Wilderness Kingdom: 1879–1960.

The Archives of American Art is the repository for Kent's voluminous correspondence.

Source: 

- Short Biography byPlattsburgh State Art Museum 

PENYCADAIR PAINTED BY RICHARD WILSON

RICHARD WILSON (1714-1782)

Penygadair - Cader Idris (892m-2,927ft)

United Kingdom (Wales)

1.   In Llyn-y-Cau, Cader Idris, oil on canvas, Tate Britain 

2. In The Mawddach Valley and Cader Idris, 1774, oil on canvas, Walker Art Gallery 

The mountain 

 Penygadair or Pen-y-Gader (892m-2,927 ft ) which means Top of the Chair, is the summit of Cader  Idris mountain and offers a superb panorama of mountain scenery.  Cader Idris  (or Cadair Idris) means 'Chair of Idris', the giant warrior poet of Welsh legend.  The mountain consists of a long ridge (11km), the 19th highest mountain in Wales and the second most popular mountain in the country after Mount Snowdon.  Pen-y-Gader northern face is craggy and precipitous, in contrast to the south face which slopes more gently into the broad expanse of the Dyfi estuary. There are a number of paths which lead to the summit, the Fox's Path leads directly up the mountains north face. To the north of the summit lies the very steep and craggy north face, where the cliffs drop around 200 metres (656ft).  The other peaks of the ridge are Mynyyd Moel (855m- 2805ft) and Mynydd Pencoed (798m-2618ft). North of Cadair Idris lies the town of Dolgellau, a convenient base, which offers cafes, restaurants and shops. The mountain is notorious for its low cloud but on a clear day it is possible to see the mountains of the Snowdon massif and the Rhinog mountain range as well as the Lleyn Peninsula and the hills of Shropshire, the Long Mynd, the Wrekin and occasionally Ireland.

There are numerous legends about Cader Idris. Some nearby lakes are supposed to be bottomless, and anyone who sleeps on its slopes alone will supposedly awaken either a madman or a poet. The tradition of sleeping on the summit of the Mountain apparently stems from bardic traditions, where bards would sleep on the mountain in hope of inspiration.
 Source:
 -Snowdonia official  Guide 

The painter
Richard Wilson was an influential Welsh landscape painter, who worked in Britain and Italy. With George Lambert he is recognized as a pioneer in British art of landscape for its own sake and was described in the Welsh Academy Encyclopedia of Wales as the "most distinguished painter Wales has ever produced and the first to appreciate the aesthetic possibilities of his country".  From 1750 to 1757 Wilson was in Italy, and became a landscape painter on the advice of Francesco Zuccarelli. Painting in Italy and afterwards in Britain, he was the first major British painter to concentrate on landscape. He composed well, but saw and rendered only the general effects of nature, thereby creating a personal, ideal style influenced by Claude Lorrain and the Dutch landscape tradition. John Ruskin wrote that Wilson "paints in a manly way, and occasionally reaches exquisite tones of colour". Among Wilson's pupils was the painter Thomas Jones. His landscapes were acknowledged as an influence by Constable, John Crome and Turner.
In December 1768 Wilson became one of the founder-members of the Royal Academy. A catalogue raisonné of the artist's work is published by the Paul Mellon Centre for Studies in British Art.
Source: 
- Tate Britain 

THE WATZMANN PAINTED BY CASPAR DAVID FRIEDRICH

CASPAR DAVID FRIEDRICH (1774-1840)  

Watzmann (2,713m - 8,901ft) 

Germany

 In  The Watzmann, oil on canvas 1824-25 , Berlin State Museum 

The mountain 

The Watzmann (2,713m - 8,901ft) is a mountain in the Bavarian Alps south of the village of Berchtesgaden. It is the third highest in Germany, and the highest located entirely on German territory. Three main peaks array on a N-S axis along a ridge on the mountain's taller western half: Hocheck (2,651 m), Mittelspitze (Middle Peak, 2,713 m) and Sьdspitze (South Peak, 2,712 m).

The Watzmann massif also includes the 2,307 m Watzmannfrau (Watzmann Wife, also known as Kleiner Watzmann or Small Watzmann), and the Watzmannkinder (Watzmann Children), five lower peaks in the recess between the main peaks and the Watzmannfrau.

The entire massif lies inside Berchtesgaden National Park.

The Watzmann Glacier is located below the famous east face of the Watzmann in the Watzmann cirque and is surrounded by the Watzmanngrat arête, the Watzmannkindern and the Kleiner Watzmann. The size of the glacier reduced from around 30 hectares (74 acres) in 1820 until it split into a few fields of firn, but between 1965 and 1980 it advanced significantly again and now has an area of 10.1 hectares (25 acres). Above and to the west of the icefield lie the remains of a transport-bomber that crashed in October 1940.

Amongst the other permanent snow and icefields the Eiskapelle ("Ice Chapel") is the best known due to its easy accessibility from St. Bartholomä. The Eiskapelle may well be the lowest lying permanent snowfield in the Alps. Its lower end is only 930 metres high in the upper Eisbach valley and is about an hour's walk from St. Bartholomä on the Königssee. The Eiskapelle is fed by mighty avalanches that slide down from the east face of the Watzmann in spring and accumulate in the angle of the rock face. Sometimes a gate-shaped vault forms in the ice at the point where the Eisbach emerges from the Eiskapelle. Before entering there is an urgent warning sign that others have been killed by falling ice.

In the east face itself is another icefield in the so-called Schöllhorn cirque, called the Schöllhorneis, which is crossed by the Kederbach Way (Kederbacher-Weg). The cirque and icefield are named after the Munich citizen, Christian Schöllhorn, who was the first victim on the east face. On 26 May 1890 he fell at the upper end of the icefield into the randkluft and was fatally injured. Another small nameless snowfield is located several hundred metres below the Mittelspitze also in the east face.

The painter 

Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".

Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".

Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip B. Miller, "half mad". As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterized its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect.  It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.

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

RIESENGEBIRGE AND SZRENICA (3) PAINTED BY CASPAR DAVID FRIEDRICH

 

CASPAR DAVID FRIEDRICH (1774-1840)
Riesengebirge (1,362 m - 4,469 ft)
Poland - Czech Republic border

In New Moon above the Riesengebirge Mountains, 1810, pen and gray ink with watercolor over graphite on wove paper overall, 26.2 x 36.5 cm, Pushkin State Museum of Fine Arts, Moscow

The mountain
Szrenica (1,362 m - 4,469 ft) is a mountain peak situated in the western part of Karkonosze on Polish and Czech border within the Karkonosze National Park. Its name originates from the Polish word szron (frost). There is a weather station situated close to the summit. The peak is deforested, both the southern and the northern parts are used intensively for skiing. The elevation gain compared to the main range is approximately 60 m. Szrenica Is part of the Giant Mountains range (Riesengebirge in german) frequently painted by the most famous romantic german painter Caspar David Friedrich.

The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".
Friedrich was a prolific artist who produced more than 500 attributed works. In line with the Romantic ideals of his time, he intended his paintings to function as pure aesthetic statements, so he was cautious that the titles given to his work were not overly descriptive or evocative. It is likely that some of today's more literal titles, such as The Stages of Life, were not given by the artist himself, but were instead adopted during one of the revivals of interest in Friedrich. Complications arise when dating Friedrich's work, in part because he often did not directly name or date his canvases. He kept a carefully detailed notebook on his output, however, which has been used by scholars to tie paintings to their completion dates.


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2020 - Wandering Vertexes...
by Francis Rousseau

RIESENGEBIRGE AND SZRENICA PAINTED BY CASPAR DAVID FRIEDRICH

CASPAR DAVID FRIEDRICH (1774-1840)

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

Poland - Czech Republic border

In Riesengebirge - View of the Small Sturmhaube from Warmbrunn, 1810, Oil on canvas, 45 x 58 cm Puškin State Museum of Fine Arts., Moscow

The mountain
Szrenica (1,362 m - 4,469 ft) is a mountain peak situated in the western part of Karkonosze on Polish and Czech border within the Karkonosze National Park. Its name originates from the Polish word szron (frost). There is a weather station situated close to the summit. The peak is deforested, both the southern and the northern parts are used intensively for skiing. The elevation gain compared to the main range is approximately 60 m. Szrenica Is part of the Giant Mountains range (Riesengebirge in german) frequently painted by the  most famous romantic german painter Caspar David Friedrich.

The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".
Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip B. Miller, "half mad". As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterized its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Friedrich was a prolific artist who produced more than 500 attributed works. In line with the Romantic ideals of his time, he intended his paintings to function as pure aesthetic statements, so he was cautious that the titles given to his work were not overly descriptive or evocative. It is likely that some of today's more literal titles, such as The Stages of Life, were not given by the artist himself, but were instead adopted during one of the revivals of interest in Friedrich. Complications arise when dating Friedrich's work, in part because he often did not directly name or date his canvases. He kept a carefully detailed notebook on his output, however, which has been used by scholars to tie paintings to their completion dates.

_______________________________
2019 - Wandering Vertexes...
by Francis Rousseau

LE MONT HOFFMANN PEINT PAR THOMAS COLE

THOMAS COLE (1801-1848)
Mont Hoffmann (3,307 m)
Etats Unis d'Amérique (Californie)

In View of Schroon Mountain, Essex County, New York, After a Storm , oil on board, 1898,

 160 cm x 99 cm, Cleveland Museum of Art

A propos de ce tableau

Grand défenseur de la nature sauvage américaine, Cole a déclaré : « Nous sommes toujours ici dans l' Eden » dans son Essai sur le paysage américain, publié deux ans avant de peindre cette vue des Adirondacks. L'artiste a esquissé la scène au début de l'été, mais lorsqu'il a créé le tableau dans son atelier, il l'a rendu avec l'éclat spectaculaire de couleurs automnales. Un tel choix avait probablement des connotations nationalistes ; il a un jour proclamé que l'automne était « une saison où la forêt américaine surpasse le monde entier en beauté ». Cole a inclus deux autochtones dans le feuillage du premier plan droit du tableau. À cette époque, les Adirondacks étaient encore le foyer de nombreux Amérindiens longtemps après que la plupart aient été expulsés de force des terres à l'est du fleuve Mississippi. Tout en continuant à vivre, chasser et pêcher dans la région, ces peuples algonquins et iroquois ont été contraints d'adapter considérablement leur existence au milieu de la colonisation et des industries forestières, minières et touristiques qui en découlèrent.

La montagne
Le mont Hoffmann (3,307m ) est un sommet de la Sierra Nevada, aux États-Unis.- dans le comté de Mariposa, en Californie, au sein de la Yosemite Wilderness, dans le parc national de Yosemite. Dans Un été dans la Sierra, paru en 1911, John Muir indique avoir randonné jusqu'au sommet du « mont Hoffman » le 26 juillet 1869-. Thomas Cole le surnomme Schrroon Mountain dans ce tableau. 

Le peintre
Thomas Cole, est un artiste américain, considéré comme le fondateur de la Hudson River School, école de peinture qui s'épanouit aux États-Unis dans la seconde moitié du A9^e siècle. Les œuvres de Cole et ses amis se caractérisent par leur rendu réaliste et minutieux des paysages américains, notamment des régions sauvages, et témoignent à la fois de l'influence du romantisme et du naturalisme.  Cole fut avant tout paysagiste, il se consacre également à la peinture allégorique. La plus célèbre de ces allégories est un ensemble de cinq toiles, Le Cours de l'Empire (ou Destin des Empires), qui retrace l'évolution d'un même lieu de l'état sauvage à la naissance de la civilisation, son développement son déclin et sa mort. Cole a été inspiré par la lecture de l'Histoire de la décadence et de la chute de l'Empire romain d'Edward Gibbon, publié entre 1776 et 1778. L'œuvre se trouve dans la collection de la Société d'Histoire de New York.  En 1827, Cole ouvre un studio dans une ferme à Cedar Grove dans la ville de Catskill, état de New-York. Il exécutera une grande partie de son œuvre dans ce lieu. En 1828, Cooper lui commande un paysage inspiré de ses romans, « sans les feuilles d’automne » du Paysage avec une scène du Dernier des Mohicans dont il juge l'effet trop voyant. Entre 1829 et 1832, il effectue un premier séjour en Europe, visitant notamment Londres, Paris et l'Italie. À Londres, il est attiré par les œuvres des paysagistes Turner et Constable. À Paris, il découvre les paysages classiques du 17e siècle et sera influencé par les œuvres de Claude Lorrain. En 1836, Cole épouse Maria Bartow, une des nièces de son propriétaire, faisant de Catskill son lieu de résidence principal. La jeune femme avait alors 23 ans et lui 35. Cole, qui s'intéressait également à l'architecture à une époque où cette profession était moins réglementée qu'aujourd'hui, participe au concours organisé en 1838 pour la construction du siège de l'exécutif à Columbus. Son projet obtint la troisième place et le monument final est une synthèse entre les projets des trois premiers lauréats. Le premier fils du couple, Theodore Alexander Cole, est né le 1er janvier de cette même année. L'année suivante naît Mary Bartow Cole, le 23 septembre 1839. Cole effectue alors un second séjour européen, d-e 1841 à 1842, accumulant les dessins et les esquisses dont il tirera les tableaux peints plus tard dans son studio de Catskill. Il exerce une influence significative sur ses pairs, notamment sur Asher Brown Durand, Jasper Francis Cropsey et Frederic Edwin Church. Ce dernier fut d'ailleurs son élève de 1844 à 1846. 

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2024 - Gravir les montagnes en peinture
Un blog de Francis Rousseau

THE MONT BLANC BY JULES-LOUIS-PHILIPPE COIGNET

 

JULES-LOUIS-PHILIPPE COIGNET (1798-1860)

 The Mont Blanc  (4,808m -15,777 ft)

 France Italy border

In Vue de Saint-Gervais,1843, Private collection 

The mountain 

Mont Blanc (in French) or Monte Bianco (in Italian), both meaning "White Mountain", is the highest mountain in the Alps and the highest in Europe after the Caucasus peaks. It rises 4,808.73 m (15,777 ft) above sea level and is ranked 11th in the world in topographic prominence.  The Mont Blanc is one of the Seven Summit, which includes the highest mountains of each of the seven continents. Summiting all of them is regarded as a mountaineering challenge, first achieved on April 30, 1985 by Richard Bass.  The 7 highest summit, (which are obviously 8 with 2 in Europe !) are :  

Mount Everest (8,848m), Aconcagua (6,961m), Mt Denali or Mc Kinley (6,194m),  Kilimandjaro (5,895m), Mt Elbrus (5,642m), Mount Vinson (4,892m) and Mount Kosciuszko  (2,228m) in Australia.

More about the Mont Blanc 

The painter  

Jules Louis Philippe Coignet was  was a noted french landscape painter who had studied under Jean-Victor Bertin. He travelled a good deal in his own country as well as elsewhere in Europe and the East, and produced a considerable number of views. A regular exhibitor at the Paris Salon exhibitions, he was awarded a gold medal there in 1824 and was given state recognition by being made a Chevalier of the Legion of Honour in 1836.
As a painter, Coignet holds a middle place between the Idealists and the Realists, and his work is remarkable for the combination of vigour and delicacy in the effects of light and shade, for poetical feeling, for a firm brush, and occasionally for grandeur of conception. This is particularly evident in "The Ruins of the Temple of Paestum", now in Munich's Neue Pinakothek. There are times too when his paintings have an atmospheric, almost Impressionist effect. One example is the coastal sunset in the Louvre;  another is the pastel "Grey weather over the sea" (1848) in the Dijon Fine Arts Museum.
Following the 1824 exhibition in Paris of John Constable's paintings, Coignet began painting outside in the forest of Fontainebleau and encouraged his students to do the same. One of his specialities was painting tree 'portraits', of which there are many examples, both as finished paintings and as sketches in oil paint. Two notable examples are the ancient oak, with a dolmen and meditating monk in the background, in the Quimper museum  and the dramatic "Oak tree and reeds" in the Musée Jean de La Fontaine at Château-Thierry.  As a pioneer of open air painting (la peinture de plein air), Coignet has been counted a member of the Barbizon school, the artists associated with the village of Barbizon, where he had painted long before they settled there. In fact one of the minor members of this school, the genre painter Ferdinand Chaigneau, was a pupil of Coignet's.
In addition to producing many water-colours, pastels and etchings, he wrote a book on landscape painting and published in 1825 a series of sixty Italian views.

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2020 - Wandering Vertexes...
by Francis Rousseau

THE BASTEI CLIFF PAINTED BY CASPAR DAVID FRIEDRICH

 

CASPAR DAVID FRIEDRICH (1774-1840)
The Bastei Cliff (194 m - 636 ft)
Germany  / Czech Republic border

 In "Felsenschlucht", oil on canvas , 1822

 

The rock
The Bastei (194 m - 636 ft) is a rock formation rising 194 metres above the Elbe River in the Elbe Sandstone Mountains  (723 m - 2,372 ft) of Germany. Reaching a height of 305 metres above sea level, the jagged rocks of the Bastei were formed by water erosion over one million years ago. They are situated near Rathen, not far from Pirna southeast of the city of Dresden, and are the major landmark of the Saxon Switzerland National Park. They are also part of a climbing and hiking area that extends over the borders into the Bohemian Switzerland (Czech Republic). The Bastei has been a tourist attraction for over 200 years. In 1824, a wooden bridge was constructed to link several rocks for the visitors. This bridge was replaced in 1851 by the present Bastei Bridge made of sandstone. The rock formations and vistas have inspired numerous artists, among them Caspar David Friedrich in "Felsenschlucht" (above)
The spa town of Rathen is the main base for visiting the Bastei; the town can be reached from Dresden by paddle steamer on the river Elbe.
The Bastei is one of the most prominent lookout points in Saxon Switzerland. In 1819 August von Goethe extolled the views: "Here, from where you see right down to the Elbe from the most rugged rocks, where a short distance away the crags of the Lilienstein, Königstein and Pffafenstein stand scenically together and the eye takes in a sweeping view that can never be described in words." Today the Bastei still has the highest number of visitors of all the lookout points in Saxon Switzerland. In addition to the actual vista, there are also other points of interest. At the Jahrhundertturm, a rock pinnacle on the Bastei Bridge, there are tablets commemorating the first mention of the Bastei in travel literature (in 1797) as well as the memory of Wilhelm Lebrecht Götzinger and Carl Heinrich Nicolai. These last two were amongst the pioneers of tourism in Saxon Switzerland, thanks to their descriptions of their journeys and their other works. Another tablet commemorates the Saxon court photographer, Hermann Krone, who took the first landscape photographs in Germany at the Bastei Bridge in 1853. From the Ferdinandstein, part of the Wehltürme rock towers, there is a famous view of the Bastei Bridge. It is reached over a branch from the route to the bridge. Another well-known rock formation in the vicinity of the Bastei is the Wartturm, a large piece of which broke off in 2000. Neurathen Castle, the largest rock castle in Saxon Switzerland, may be reached from the Bastei by crossing the Bastei Bridge. The ruins of the castle, some timber rebates, rooms carved out of the rock, a cistern and stone shot from a medieval catapult or slingshot may be viewed on a self-conducted circular walk. A replica slingshot was put on display in the castle in 1986. The finds from excavations in the area, especially pottery, can also be seen. The climb from Rathen to the Bastei runs past an open-air museum dedicated to Slavic settlement in the region and also past the path leading to the Rathen Open Air Stage. Another famous landmark in the local area is the fortress of Königstein.

The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization"....


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2022 - Wandering Vertexes...
Un blog de Francis Rousseau

MONT SNOWDON / YR WYDDFA PEINT PAR J.M.W. TURNER

 

J.M.W. TURNER (1775–1851)
Mont Snowdon/ Yr Wyddfa (1, 085 m -3,560 ft)
Royaume Uni (Pays de Galles)

In "Llanberis Lake and Snowdon ", c.1799–1800, watercolor, Tate Britain

La montagne
Le Mont Snowdon (1, 085 m -3,560 ft) toponyme anglais signifiant « la colline enneigée » et en gallois Yr Wyddfa c'est-à-dire « le tumulus », est un sommet du Royaume-Uni qui constitue le point culminant du massif Snowdon et du pays de Galles. Il se situe dans le comté du Gwynedd, au sein du parc national de Snowdonia, créé en 1951, et de diverses autres zones de conservation destinées à protéger sa faune et sa flore rares au Royaume-Uni. C'est l'un des endroits les plus arrosés du pays. Ses roches, formées au cours de l'Ordovicien, sont d'origine volcanique et ont été fortement érodées lors des glaciations. Ainsi, ses cirques abritent plusieurs lacs glaciaires. Le premier homme à avoir officiellement atteint le sommet est Thomas Johnson en 1639. La montagne est intensivement occupée dès le début du XIXe siècle, aussi bien pour ses ressources minières que pour le tourisme. L'ascension est devenue courante grâce à des sentiers de randonnée pédestre et à un train à crémaillère, le Snowdon Mountain Railway, d'une longueur de 7,5 kilomètres, qui fait depuis 1896 la liaison entre le sommet et le village de Llanberis, si bien que le mont Snowdon est la montagne la plus gravie de Grande-Bretagne avec 350 000 personnes au sommet chaque année. Il est également possible d'y pratiquer l'escalade. Site entouré de mythes et de magie, il est particulièrement important dans la légende arthurienne. Merlin l'enchanteur aurait caché le trône en or de Bretagne parmi les falaises septentrionales du Crib Y Ddysg à l'époque de l'invasion saxonne de la Grande-Bretagne.

Le peintre
Joseph Mallord William Turner plus connu sous le nom de William Turner ou de ses initiales J. M. W. Turner, est un peintre, aquarelliste et graveur britannique. Initialement de la veine romantique anglaise, son œuvre est marquée par une recherche novatrice audacieuse qui le fait considérer, avec son contemporain John Constable, comme un précurseur de l'impressionnisme, voir de l'art abstrait. Renommé pour ses huiles, Turner est également un des plus grands maîtres anglais de paysages à l'aquarelle. Il y gagne le surnom de « peintre de la lumière ». La plus grande partie des œuvres de Turner est conservée à la Tate Britain. Il n'hésite pas à tester des combinaisons étranges d'aquarelle et d'huile ainsi que de nouveaux produits dans ses toiles. Parfois, il utilise même des matériaux inhabituels comme le jus de tabac et la bière vieillie, avec pour conséquence la nécessité des restaurations régulières de ses œuvres. Le peintre et critique d'art George Beaumont qualifie Turner et ses suiveurs comme Callcott de « peintres blancs » car ils mettent au point dès le début du XIXe siècle l'utilisation d'un fond blanc pour donner à leurs tableaux la fraîcheur des couleurs et la luminosité, permettant le passage direct des effets de l'aquarelle dans la peinture à l'huile, « effets tout à fait différents de ceux obtenus avec les fonds rouges ou bruns traditionnels des anciens Maîtres ».
Son passage d'une représentation plus réaliste à des œuvres plus lumineuses, à la limite de l'imaginaire (Tempête de neige en mer), se fait après un voyage en Italie en 1819 (Campo Santo de Venise). Turner montre le pouvoir suggestif de la couleur, ainsi, son attirance pour la représentation des atmosphères le place pour des critiques d'art comme Clive Bell, comme un précurseur de la modernité en peinture et de l'impressionnisme jusqu'à devenir « le peintre des incendies ». Mais il peint rarement sur le motif contrairement aux impressionnistes, qui feront de cette pratique une règle. Il préfère en effet recomposer en atelier les nuances des paysages, aidé de sa grande mémoire des couleurs. D'autres critiques préfèrent pousser plus loin encore leur analyse en voyant dans l'absence de lignes et de points de fuite ou la dissolution de la forme dans la couleur, notamment dans les marines de Turner, les prémices de l'abstraction lyrique, voire de l'action painting en gestation.

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2024 - Gravir les montagnes en peinture
Un blog de Francis Rousseau    

PUY DE LA VACHE PAINTED BY CAMILLE COROT

CAMILLE COROT (1796-1875)

Puy de la Vache  (1,167m- 3,829ft) 

France (Puy de dôme)

In Monts d'Auvergne, oil on canvas,  Musée d'art Roger Quilliot, Clermont-Ferrand  

The mountain 

The Puy de la Vache (1,167m- 3,829ft)  (Puy of the Cow) is a basaltic volcano of the Puys Range, in the Massif Central in France. The Puy de la Vache is located in the town of Saint-Genès-Champanelle, south-west of Clermont-Ferrand. Its principal lava flow, combined with that of the Puy de Lassolas, is called Cheire d'Aydat. It created, by barring valleys, different lakes including Lake Cassière to the North and Lake Aydat to the South in the valley of the Veyre.

With its twin the Puy de Lassolas, they form two monogenic volcanoes, that is to say, born of a single eruptive episode, of strombolian type. They form two cones of slag, the color of which goes from red (for those exposed to the heat of the crater, which has favored their oxidation) to black.

Their joint lava flow (Cheire d'Aydat) traveled fifteen kilometers to the Southeast, reaching the current sites of the towns of Saint-Saturnin and Saint-Amant-Tallende. The slag dropped on the back of the casting made the surface chaotic. It is possible to find on this site rare phenocrysts (large crystals contained in a volcanic rock). Aged 8,600, they are the youngest volcanoes in the Puys range. The last listed eruption was in 6020 before the Christian era. 

The painter 

Jean-Baptiste-Camille Corot (1796-1875), French landscape and portrait painter as well as a printmaker in etching,  is a pivotal figure in landscape painting.  His vast output simultaneously refers the Neo-Classical tradition and anticipates the plein-air innovations of Impressionism.

Camille Corot, no doubt attracted by the mythical aspect of Monte Soratte, painted it several times during his first stay in Italy between 1825 and 1830.  Three of these representations are published in this blog today; although all painted  between 1826 and 1827, they are very different from each other, they were painted at different times of the year ant different hours of the day as he used to do.  The first presented here, apparently painted during summertime, has an almost Cézanian appearance !

Indeed, with his parents' support, Corot followed the well-established pattern of French painters who went to Italy to study the masters of the Italian Renaissance and to draw the crumbling monuments of Roman antiquity.  A condition by his parents before leaving was that he paint a self-portrait for them, his first.  During  his stay in Italy, Corot completed over 200 drawings and 150 paintings !   

Corot learned little from the Renaissance masters (though later he cited Leonardo da Vinci as his favorite painter) and spent most of his time around Rome and in the Italian countryside.  The Farnese Gardens with its splendid views of the ancient ruins was a frequent destination, and he painted it at three different times of the day, like Monte Soratte.  The training was particularly valuable in gaining an understanding of the challenges of both the mid-range and panoramic perspective, and in effectively placing man-made structures in a natural setting.   He also learned how to give buildings and rocks the effect of volume and solidity with proper light and shadow, while using a smooth and thin technique.   

Of him Claude Monet exclaimed in 1897, "There is only one master here—Corot. We are nothing compared to him, nothing."  His contributions to figure painting are hardly less important; Degas preferred his figures to his landscapes, and the classical figures of Picasso pay overt homage to Corot's influence.

Historians have divided his work into periods, but the points of division are often vague, as he often completed a picture years after he began it. In his early period, he painted traditionally and "tight"—with minute exactness, clear outlines, thin brush work, and with absolute definition of objects throughout, with a monochromatic underpainting or ébauche.  After he reached his 50th year, his methods changed to focus on breadth of tone and an approach to poetic power conveyed with thicker application of paint; and about 20 years later, from about 1865 onwards, his manner of painting became more lyrical, affected with a more impressionistic touch. In part, this evolution in expression can be seen as marking the transition from the plein-air paintings of his youth, shot through with warm natural light, to the studio-created landscapes of his late maturity, enveloped in uniform tones of silver. In his final 10 years he became the "Père (Father) Corot" of Parisian artistic circles, where he was regarded with personal affection, and acknowledged as one of the five or six greatest landscape painters the world had seen, along with Hobbema, Claude Lorrain, Turner and Constable. In his long and productive life, he painted over 3,000 paintings.

Though often credited as a precursor of Impressionist practice, Corot approached his landscapes more traditionally than is usually believed.  Compared to the Impressionists who came later, Corot's palette is restrained, dominated with browns and blacks ("forbidden colors" among the Impressionists) along with dark and silvery green.  Though appearing at times to be rapid and spontaneous, usually his strokes were controlled and careful, and his compositions well-thought out and generally rendered as simply and concisely as possible, heightening the poetic effect of the imagery.  As he stated, "I noticed that everything that was done correctly on the first attempt was more true, and the forms more beautiful."

Corot's approach to his subjects was similarly traditional.  Although he was a major proponent of plein-air studies, he was essentially a studio painter and few of his finished landscapes were completed before the motif.  For most of his life, Corot would spend his summers travelling and collecting studies and sketches, and his winters finishing more polished, market-ready works.  For example, the title of his Bathers of the Borromean Isles (1865–70) refers to Lake Maggiore in Italy, despite the fact that Corot had not been to Italy in 20 years.  His emphasis on drawing images from the imagination and memory rather than direct observation was in line with the tastes of the Salon jurors, of which he was a member.

In the 1860s, Corot became interested in photography, taking photos himself and becoming acquainted with many early photographers, which had the effect of suppressing his painting palette even more in sympathy with the monochromic tones of photographs. This had the result of making his paintings even less dramatic but somewhat more poetic, a result which caused some critics to cite a monotony in his later work. Théophile Thoré wrote that Corot "has only a single octave, extremely limited and in a minor key; a musician would say. He knows scarcely more than a single time of day, the morning, and a single color, pale grey."  Corot responded: "What there is to see in painting, or rather what I am looking for, is the form, the whole, the value of the tones...That is why for me the color comes after, because I love more than anything else the overall effect, the harmony of the tones, while color gives you a kind of shock that I don’t like. Perhaps it is the excess of this principal that makes people say I have leaden tones."

In his aversion to shocking color, Corot sharply diverged from the up-and-coming Impressionists, who embraced experimentation with vivid hues.

The works of Corot are housed in museums in France and the Netherlands, Britain, North America and Russia.