LA GUMMFLUH PEINTE PAR CUNO AMIET

 

CUNO AMIET (1868-1961)
La Gummfluh 2,457m)
Suisse

La montagne
La Gummfluh (2,457m) est un sommet des Préalpes vaudoises rattachées aux Alpes bernoises. Il s'agit du point culminant de la chaîne montagneuse située au sud du Pays-d’Enhaut. Le sommet se trouve à la frontière entre le canton de Vaud et le canton de Berne. Sa face Nord est très abrupte avec un massif essentiellement composé de roches calcaires. Au pied de la Gummfluh se trouve la réserve naturelle de la Pierreuse où vivent de nombreux bouquetins et chamois. Le nom de la montagne viendrait de Gumm (la « vallée ») et fluh (le « pic »).

Le peintre
Cuno Amiet est un peintre suisse qui manifeste un talent pour la peinture dès le collège. Il reçoit une première formation artistique auprès de Frank Buchser, à Feldbrunnen (canton de Soleure), qui lui donne occasionnellement des cours de peinture. En 1886, il part étudier à l'Académie de Munich où il rencontre Giovanni Giacometti. En 1888, il se rend à Paris avec ce dernier. Les deux amis s'inscrivent à l'Académie Julian. S'inspirant de la vie de Paul Gauguin, Cuno Amiet passe une année à Pont-Aven en 1892, où il rencontre les disciples du maître et découvre également les œuvres de Vincent van Gogh. ll y rencontre également Armand Seguin qui l’initie à la gravure. Durant son séjour en Bretagne, il pose les bases de son art de coloriste. En 1893, Cuno Amiet retourne en Suisse. En 1897, il fait la connaissance de Ferdinand Hodler, avec qui il a été l’un des plus illustres représentants du courant symboliste en Suisse. L'année suivante, il se marie avec la fille d'un riche aubergiste, Anna Luder. En 1898, il s'installe avec elle dans une maison à Oschwand (canton de Berne). Ce village bernois d'Oschwand devient un centre de création et de villégiature artistique dès 1908. Il entretient des contacts étroits avec l'étranger, participant notamment avec Ferdinand Hodler à la Sécession de Vienne en 1904. Il expose à Dresde en mai 1905. Il y connaît les jeunes peintres expressionnistes qui fondent la même année le groupe artistique d'avant-garde Die Brücke. En septembre 1906, il est formellement invité à rejoindre Die Brücke, ce qu'il accepte. Cela a permis à Cuno Amiet de participer à des expositions collectives à l'étranger.  Lors de l'incendie du Palais de verre à Munich en 1931, Cuno Amiet perd une partie de son œuvre. Depuis les années 1920 jusqu'à sa mort en 1961, survenue à Oschwand alors qu'il est très âgé, Amiet se voue en priorité à des paysages joyeux et idylliques.En plus des œuvres de chevalet, Amiet a aussi exécuté des peintures murales et des gravures. Par sa maîtrise de la couleur, il a imprimé, après Ferdinand Hodler, une nouvelle impulsion à la peinture suisse. Cuno Amiet fut membre de la Commission fédérale des beaux-arts (1911-1915 et 1931-1932) et du Moderner Bund (1912). En 1919, il fut nommé docteur honoris causa de l'université de Berne. Il siégea également à la commission de la Fondation Gottfried Keller (1934-1948) et à la commission du musée des beaux-arts de Berne (1935-1948).

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

THE DOM AND THE TÄSCHORN PAINTED BY W. F. BURGER

WILHELM FRIEDRICH BURGER (1882 -1964)
The Dom (4,545 m (14,911 ft)
The Täschhorn (4,491 m -14,734 ft)
Switzerland

In The Dom and Täschhorn above Zermatt, watercolour, 30.5 x 37.5 cm.
Courtesy John Mitchell Fine Arts London

 
The mountains
The Dom (4 ,545 m  -14,911 ft)  is a mountain of the Pennine Alps, located between Randa and Saas-Fee in the canton of Valais in Switzerland. It is the seventh highest summit in the Alps, overall.  Based on prominence, it can be regarded as the third highest mountain in the Alps, and the second highest in Switzerland, after Monte Rosa. The Dom is the main summit of the Mischabel group (German: Mischabelhörner), which is the highest massif lying entirely in Switzerland. The Dom is noteworthy for its 'normal route' of ascent having the greatest vertical height gain of all the alpine 4000 metre peaks, and none of that route's 3,100 metres of height can be achieved using mechanical means. Although Dom is a German cognate for 'dome', it can also mean 'cathedral' and the mountain is named after Canon Berchtold of Sitten cathedral, the first person to survey the vicinity. The former name Mischabel comes from an ancient German dialect term for pitchfork, as the highest peaks of the massif stand close to each other.
The Täschhorn (4,491 m - 14,734 ft) is  lying south of the Dom within the Mischabel range.  Täschorn is a little lower than Dom but more difficult to access because there is mandatory rock climbing. Täschorn is a 3 sides pyramid.  East face is above Saas Fee, W face is above Täsch (last village before Zermatt), and huge South face is above Täschalp (Ottavan).  Each side belongs a glacier: on Täsch side is Kingletscher, on Ottavan side is Weingartengletscher, on Saas side is Feegletscher. The first ascent of the mountain was by John Llewelyn Davies and J. W. Hayward with guides Stefan and Johann Zumtaugwald and Peter-Josef Summermatter on 30 July 1862. The normal route is on the SE ridge starting from Mischabeljoch. To join the Mischabel pass, it's possible to come from either Saas Fee side or Täsch side.

 
The painter
Wilhelm, or Willy, Burger is nowadays widely recognized as one of the leading graphic artists of his time. His lithograph posters such as, Jungfraubahn. Station Jungfrau: Joch 3457m. Aletschgletscher, 1914 and St. Moritz, 1912are far better known – and more costly – than his oil paintings. However, he was first and foremost a painter by training who apprenticed in Zurich before leaving for Philadelphia and New York in 1908. He returned to Switzerland in 1913 where he set up a studio in Rüschlikon on the west shore of Lake Zürich from where he would travel throughout the Alps, the Mediterranean and as far afield as Egypt for his commissions. Although Burger cannot be categorized as a Symbolist in the strictest sense, his palette, his penchant for jagged outlines and his ethereal skies owe much to Ferdinand Hodler, the leading Swiss painter of the late nineteenth century. Hovering between Realism and Symbolism in style, this late afternoon view over the Zürichsee from the edge of the lake at Rüschlikon is an overt homage to Hodler who painted nearly 150 pictures of the Swiss lakes, many of them in a similar, panoramic format. Burger went so far as to sign his picture with a more spidery signature than usual – a pastiche of Hodler’s.
From 1901 onwards, Hodler began to concentrate on a series of acclaimed visions of Lac Léman (Geneva) in which he delineated horizontal bands of differing colours and tone. As he developed the theme of receding lines across the lake, or ‘parallelism’, as he called it, Mont Blanc and its surrounding peaks were introduced into the background. Hodler died in 1918 but in these late paintings he sought to express his concept of unité – the idea that there was a fundamental order to the universe and the artist’s role was to reveal it.

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2022 - Wandering Vertexes...
by Francis Rousseau

THE GRAMMONT PAINTED BY ALEXANDRE PERRIER

ALEXANDRE PERRIER (1862-1936)

The Grammont (2, 172 m - 7,126 ft) 

Switzerland (Valais) 

In Grammont, 1919, oil on canvas, Private collection

The mountain 

The Grammont (2, 172 m- 7,126 ft) is a mountain located in the Valais Chablais, in the Canton of Valais, Savoy Alps, Switzerland. Its northern flank falls steeply to the French-Swiss border towns of Saint-Gingolph on the shores of Lake Geneva. To the south-east lies Lac de Tanay, a lake located in the municipality of Vouvry.In 1906, a concession was filed at Federal Authorities for the construction of a cogwheel railway from the Swiss Saint-Gingolph to the Grammont. Stations were provided on the slopes of Vignoles, in Fritaz and at 2,080 meters (6,824ft) at the top of the Grammont. An extension to the neighboring Cornettes de Bise was conceived. The deadline for submission of technical and financial documents was last extended in 1913. Because of the World War I, the train was never built.
During the Second World War, on July 13, 1943, an aircraft of the British Royal Air Force crashed on the northeast slope above Le Bouveret at an altitude of 900 meters on the slopes of the Grammont. Seven people were killed. The Swiss army announced that their air defense had fired the aircraft. The dead were buried in the English cemetery in Vevey.
The mountain has inspired the swiss painterFerdinand Hodler  quite a number of times.

He painted the summit at every hour of the days and in every season. (cf this post)

The painter
Alexandre Perrier is one of the most prominent Swiss artists of the turn of the century, but he is perhaps the one whose work remains today the least studied. He counted among his friends and acquaintances Cuno Amiet, Albert Trachsel and Ferdinand Hodler and exhibited at the side of the latter at the Secession of Vienna in 1901, as well as at the Exposition Universelle in Paris the previous year. A landscape painter by vocation, he devoted his whole life to the pictorial transposition of a limited choice of sites, such as Mont Salève, Lake Geneva, The Mont-Blanc and The Grammont, whose light and atmosphere he sought to bring back. Influenced by Neo-Impressionist tendencies, he uses a technique decomposing his touch into small dots and lines, situating it stylistically between pointillism and divisionism. In the second part of his career his style evolved towards a freer painting, dissociating color and drawing, an artistic approach that confirms its originality and its modernity.
At his debut, he worked for a short period in a bank before going to Mulhouse in 1881, for training as a signatory of textile printing. In 1891, he moved to Paris where he worked as a fashion illustrator; He discovered new artistic movements such as neo-impressionism, symbolism and Art Nouveau. Shortly before the turn of the century, he returned to Geneva, where he remained until his death. He received a bronze medal at the Universal Exhibition of Paris in 1900. In 1902, he exhibited at the Secession of Vienna.

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2019 - Wandering Vertexes...
by Francis Rousseau

DER NIESEN PAINTED BY CUNO AMIET

CUNO AMIET (1868-1961)
Der Niesen  (2, 362m - 7,749ft)

Switzerland

 1. In  Thunersee mit Niesen, 1931 oil on canvas

2.  In Thunersee mit Niesen, 1932, watercolor

The mountain 

The Niesen (2, 362m - 7,749ft)  is a mountain of the Bernese Alps in Switzerland. It overlooks Lake Thun, in the Bernese Oberland region, and forms the northern end of a ridge that stretches north from the Albristhorn and Mannliflue, separating the Simmental and Kandertal valleys. The literal translation of the German word "Niesen" is  "sneeze", but the Niesen because of its shape, is often called The Swiss Pyramid. Administratively, the summit is shared between the municipalities of Reichenbach im Kandertal, to the south-east, and Wimmis, to the west and north. Both municipalities are in the canton of Bern. The summit of the mountain can be reached easily by using the Niesenbahn funicular from Mülenen (near Reichenbach). The construction of the funicular was completed in 1910. Alongside the path of the Niesenbahn is the longest stairway in the world with 11,674 steps. It is open only once a year to the public for a stair run.
The literal translation of the German word Niesen is sneeze. Because of its shape, the Niesen is often called the Swiss Pyramid.  Since the 18th century, the Niesen was the subject of a number of paintings which will all be published in this blog, one by one. The Ferdinand Holder's paintings are the two first ones to have been published. The Niesen was also the subject of a number of paintings by Paul Klee, in which it was represented as a quasi-pyramid.

The painter 
Cuno Amiet was a Swiss painter, illustrator, graphic artist and sculptor. As the first Swiss painter to give precedence to colour in composition, he was a pioneer of modern art in Switzerland.
After studies with the painter Frank Buchser, he attended the Academy of Fine Arts Munich in 1886–88, where he befriended Giovanni Giacometti. In 1888-92, Giacometti and Amiet continued their studies in Paris, where Amiet studied at the Académie Julian under Adolphe-William Bouguereau, Tony Robert-Fleury and Gabriel Ferrier.
Amiet created more than 4,000 paintings, of which more than 1,000 are self-portraits. The great scope of his work of 70 years, and Amiet's predilection for experimentation, make his œuvre appear disparate at first – a constant, though, is the primacy of colour.  His numerous landscape paintings depict many winter scenes, gardens and fruit harvests. Ferdinand Hodler remained a constant point of reference, although Amiet's artistic intentions diverged ever further from those of Hodler, whom Amiet could and would not match in his mastery of monumental scale and form.
While Amiet took up themes of expressionism, his works retain a sense of harmony of colour grounded in the French tradition. He continued to pursue mainly decorative intentions at the beginning of the 20th century, but his late work of the 1940s and 50s is focused on more abstract concepts of space and light, characterised by dots of colour and a pastel brilliance.

THE STOCKHORN PAINTED BY CUNO AMIET

 CUNO AMIET (1868-1961),

The Stockhorn (2,190 m - 7, 185ft) 

Switzerland

In Stockhornette, 1931 oil on cardboard, Private collection

The mountain
The Stockhorn (2,190 m - 7, 185ft) is the highest peak in the Stockhorn range., in the Bernese Oberland (Switzerland). The striking Stockhorn summit is immediately noticeable when you drive through the Gürbetal or the Aare valley towards the Bernese Oberland. Since it consists of an almost vertical rock plate, it appears wide or pointed depending on the angle.
The Voralpenkette is about 13 km long and separates the Simmental in the south of the Stockental in the north in OSO / NNW direction. It begins at Reutigen , where the Simme leaves their valley and separates the described chain from the Burgfluh, respectively from the sneeze. The first striking peak is the Simmenfluh (1,422 m), which shapes the region with its massive appearance. After the Simmenfluh, the ridge drops slightly again and soon turns into a broad ridge, the Alp Heiti. From Stockental a second ridge climbs up, overlooking the previous ridge and the Alp. The Nüschleten (1,987 m), the Lasenberg (2,019 m) and the Solhorn (2,017 m) are the three highest elevations on this ridge section to the Stockhorn, which then expires in the Straitligrat. To the north of the Stockhorn is the broad Walalpgrat (1,920 m), the beginning of the last ridge section of the Stockhorn chain.This is followed by the Möntschelenspitz (2,020 m ), the Hohmad (2,075 m), the Stubenfluh (2,004 m) and the Chrummenfadenfluh (2,074 m ). The latter is actually already part of the Gantrisch group , which is adjacent to the Stockhorn chain in the NNW.
In the Stockhorn area there are several climbing gardens for sport climbers. 120 routes in 12 sectors offer difficulty levels from 2 to 7 in compact limestone rocks around the summit and at the intermediate station.
In 1974, an extensive cave system was discovered in the area around the Oberstocken Alp.

The painter
Cuno Amiet was a Swiss painter, illustrator, graphic artist and sculptor. As the first Swiss painter to give precedence to colour in composition, he was a pioneer of modern art in Switzerland.
After studies with the painter Frank Buchser, he attended the Academy of Fine Arts Munich in 1886–88, where he befriended Giovanni Giacometti. In 1888-92, Giacometti and Amiet continued their studies in Paris, where Amiet studied at the Académie Julian under Adolphe-William Bouguereau, Tony Robert-Fleury and Gabriel Ferrier.
Amiet created more than 4,000 paintings, of which more than 1,000 are self-portraits. The great scope of his work of 70 years, and Amiet's predilection for experimentation, make his œuvre appear disparate at first – a constant, though, is the primacy of colour. His numerous landscape paintings depict many winter scenes, gardens and fruit harvests. Ferdinand Hodler remained a constant point of reference, although Amiet's artistic intentions diverged ever further from those of Hodler, whom Amiet could and would not match in his mastery of monumental scale and form.
While Amiet took up themes of expressionism, his works retain a sense of harmony of colour grounded in the French tradition. He continued to pursue mainly decorative intentions at the beginning of the 20th century, but his late work of the 1940s and 50s is focused on more abstract concepts of space and light, characterised by dots of colour and a pastel brilliance.

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2019 - Wandering Vertexes...

by Francis Rousseau 

MONTE DEL FORNO PAINTED BY GIOVANNI GIACOMETTI

GIOVANNI GIACOMETTI (1868-1933)

Monte del Forno (3,214m -10,544 ft )

Italy - Switzerland border 

In Lake and mount  del Forno, watercolour,  Private collection  

The mountain
Monte del Forno (3,214m -10,544 ft )  not to be confused with  Monte Forno (Austrian, Slovenian Italian border)  is a mountain in the Bregaglia Range (Alps), located on the border between Italy and Switzerland. On its western side it overlooks the Forno Glacier and Lake.

The painter 
Giovanni Giacometti was a Swiss painter, the father of the famous painter and sculptor Alberto Giacometti, and of Diego Giacometti, the furniture designer as well as the father of the architect Bruno Giacometti ! In 1886, he studied painting at the School of Decorative Arts in Munich, where he met Cuno Amiet the following year. Both decide to pursue their studies in Paris, in October stood at the Académie Julian, where Giacometti remains until 1891.
In 1893, shortly after his return to Switzerland, to Bergell, he became friends with Giovanni Segantini, his eldest ten years, which has great influence on his work by opening it to the beauty of the mountain scenery and the rules of divisionism. After his sudden death in 1899, Giacometti met Ferdinand Hodler, who teaches him to create a rigorous and ornamental composition by appropriate use of shapes and colors.
He sees regularly Cuno Amiet, who after a year spent in Pont-Aven, shared his experience with him. In 1900 he exhibited in the Swiss Pavillon of the Universal Exhibition in Paris. From 1905, Giacometti works again in a great complicity with Amiet and begins to break free from the influence of Segantini. In 1906, held an exhibition of his work at Kunstlerhaus Zurich. In 1907 he went to Paris with Amiet to the Cézanne retrospective at the Salon d'Automne. They copy all the works of Van Gogh. In 1908, he exhibited with the French Fauves at the Richter Gallery in Dresden.
In 1909, the Tannhauser Gallery presents his works in Munich. He meets Alexi von Jawlensky, and in 1911 participates in the Berlin Secession. In 1912, Giacometti has a solo show at the Kunsthaus Zurich presents two works in the Sonderbund of Cologne. In 1918 after Hodler' s death, he began to be involved into the Swiss political world paying an important part as a committed artist, following int that way friend Amiet.

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2020 - Wandering Vertexes...
by Francis Rousseau

CIMA DI ROSSO PAINTED BY GIOVANNI GIACOMETTI

GIOVANNI GIACOMETTI (1868-1933)

Cima di Rosso (( 3,366 m (11,043 ft)

Italy - Switzerland border

In Maloja mit Monte Forno und Cima di Rosso,  oil on canvas, 1918, Private collection 

The mountain
The Cima di Rosso is a mountain in the Bregaglia Range of the Alps, located on the border between Italy and Switzerland. It lies between the valleys of Bregaglia (in Graubünden) and Malenco (in Lombardy). On the western side of the mountain is the Forno Glacier.

The painter
Giovanni Giacometti was a Swiss painter, the father of the famous painter and sculptor Alberto Giacometti, and of Diego Giacometti, the furniture designer as well as the father of the architect Bruno Giacometti ! In 1886, he studied painting at the School of Decorative Arts in Munich, where he met Cuno Amiet the following year. Both decide to pursue their studies in Paris, in October stood at the Académie Julian, where Giacometti remains until 1891.
In 1893, shortly after his return to Switzerland, to Bergell, he became friends with Giovanni Segantini, his eldest ten years, which has great influence on his work by opening it to the beauty of the mountain scenery and the rules of divisionism. After his sudden death in 1899, Giacometti met Ferdinand Hodler, who teaches him to create a rigorous and ornamental composition by appropriate use of shapes and colors.
He sees regularly Cuno Amiet, who after a year spent in Pont-Aven, shared his experience with him. In 1900 he exhibited in the Swiss Pavillon of the Universal Exhibition in Paris. From 1905, Giacometti works again in a great complicity with Amiet and begins to break free from the influence of Segantini. In 1906, held an exhibition of his work at Kunstlerhaus Zurich. In 1907 he went to Paris with Amiet to the Cézanne retrospective at the Salon d'Automne. They copy all the works of Van Gogh. In 1908, he exhibited with the French Fauves at the Richter Gallery in Dresden.
In 1909, the Tannhauser Gallery presents his works in Munich. He meets Alexi von Jawlensky, and in 1911 participates in the Berlin Secession. In 1912, Giacometti has a solo show at the Kunsthaus Zurich presents two works in the Sonderbund of Cologne. In 1918 after Hodler' s death, he began to be involved into the Swiss political world paying an important part as a committed artist, following int that way friend Amiet.

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2019 - Wandering Vertexes...
by Francis Rousseau

PIZ DUAN PAINTED BY GIOVANNI GIACOMETTI

GIOVANNI GIACOMETTI (1868-1933)

Piz Duan   (3,131 m- 10,272 ft)

Switzerland

 In Primavera Piz Duan, oil on canvas, Bündner Kunstmuseum Chur (Switzerland).

The mountain 
Piz Duan  (3,131 m- 10,272 ft) is a mountain of the Oberhalbstein Range, overlooking Vicosoprano and the Val Bregaglia, in the Swiss canton of Graubünden. Piz Duan is considered to be one of the most perfect lookout mountains of Switzerland. Thanks to its prominence - it stands out above Bergell / Val Bregaglia for more than 2000m, above Val Maroz for almost 1500m - its panorama is clearly breathtaking.  Clearly most impressive are the granite spires of the Bergell Alps / Val Massino Alps just across the valley but the whole of Graubünden / Grisons / Grischun and much of the Alpi Lepontine can be seen as well as the Valais Alps around Monte Rosa and Dom.
Piz Duan is part of the Platta Group and stands at its southern end, where Graubünden borders Italy.

The painter 
Giovanni Giacometti was a Swiss painter, the father of  the famous painter and sculptor Alberto  Giacometti, and of Diego Giacometti, the furniture designer as well as the father of the architect Bruno Giacometti ! In 1886, he studied painting at the School of Decorative Arts in Munich, where he met Cuno Amiet the following year. Both decide to pursue their studies in Paris, in October stood at the Académie Julian, where Giacometti remains until 1891.
In 1893, shortly after his return to Switzerland, to Bergell, he became friends with Giovanni Segantini, his eldest ten years, which has great influence on his work by opening it to the beauty of the mountain scenery and the rules of divisionism. After his sudden death in 1899, Giacometti met Ferdinand Hodler, who teaches him to create a rigorous and ornamental composition by appropriate use of shapes and colors.
He sees regularly Cuno Amiet, who after a year spent in Pont-Aven,  shared his experience with him. In 1900 he exhibited in the Swiss Pavillon of the Universal Exhibition in Paris. From 1905, Giacometti works again in a great complicity with Amiet and begins to break free from the influence of Segantini. In 1906, held an exhibition of his work at Kunstlerhaus Zurich. In 1907 he went to Paris with Amiet to the Cézanne retrospective at the Salon d'Automne. They copy all the works of Van Gogh. In 1908, he exhibited with the French Fauves at the Richter Gallery in Dresden.
In 1909, the Tannhauser Gallery presents his works in Munich. He meets Alexi von Jawlensky, and in 1911 participates in the Berlin Secession. In 1912, Giacometti has a solo show at the Kunsthaus Zurich presents two works in the Sonderbund of Cologne. In 1918 after Hodler' s death, he began to be involved into the Swiss political world  paying an important part as a committed artist, following int that way friend Amiet.

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2018 - Wandering Vertexes...
by Francis Rousseau 

PIZ BACONE BY GIOVANNI GIACOMETTI

GIOVANNI GIACOMETTI (1868-1933)

Piz Bacone (3,244m - 10,643ft)

Switzerland

In Piz Bacone, oil on canvas, 1916, Private collection

The mountain 

Piz Bacone (3,244m - 10,643ft) is a secluded mountain, situated in Engadin, a region of the Swiss Alps located in the canton of Graubünden in the south-east of the country, near the borders with Liechtenstein, Austria and Italy. Piz Bacone is quite unknwon and hopefully even less frequented ! Climbing to the dawn of mountaineering history , it consists of broken rocks and shattered by the no longer existing glaciers that once cloaked it. The southern wall is an exception, a reddish, compact and flashy aesthetic, but  limited in height.  Interrupted by a ledge of blocks, in the upper part the wall consists of a beautiful pillar, which however is less compact and quite disturbed by grasses and lichens.

The painter 

Giovanni Giacometti was a Swiss painter, the father of the famous painter and sculptor Alberto Giacometti, and of Diego Giacometti, the furniture designer as well as the father of the architect Bruno Giacometti ! In 1886, he studied painting at the School of Decorative Arts in Munich, where he met Cuno Amiet the following year. Both decide to pursue their studies in Paris, in October stood at the Académie Julian, where Giacometti remains until 1891.

In 1893, shortly after his return to Switzerland, to Bergell, he became friends with Giovanni Segantini, his eldest ten years, which has great influence on his work by opening it to the beauty of the mountain scenery and the rules of divisionism. After his sudden death in 1899, Giacometti met Ferdinand Hodler, who teaches him to create a rigorous and ornamental composition by appropriate use of shapes and colors.

He sees regularly Cuno Amiet, who after a year spent in Pont-Aven, shared his experience with him. In 1900 he exhibited in the Swiss Pavillon of the Universal Exhibition in Paris. From 1905, Giacometti works again in a great complicity with Amiet and begins to break free from the influence of Segantini. In 1906, held an exhibition of his work at Kunstlerhaus Zurich. In 1907 he went to Paris with Amiet to the Cézanne retrospective at the Salon d'Automne. They copy all the works of Van Gogh. In 1908, he exhibited with the French Fauves at the Richter Gallery in Dresden.

In 1909, the Tannhauser Gallery presents his works in Munich. He meets Alexi von Jawlensky, and in 1911 participates in the Berlin Secession. In 1912, Giacometti has a solo show at the Kunsthaus Zurich presents two works in the Sonderbund of Cologne. In 1918 after Hodler' s death, he began to be involved into the Swiss political world paying an important part as a committed artist, following int that way friend Amiet.

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2018 - Wandering Vertexes...

by Francis Rousseau

CERVIN / MATTERHORN BY EMIL NOLDE

EMIL NOLDE  (1867-1956) 

Cervin / Matterhorn  (4,478m -14,691ft)

Switzerland - Italy 

In Das Matterhorn Ladrelt (Smiling Watterhorn), 1897, gouache-poscard, 

Seebüll Nolde Foundation (Germany) 

The mountain 

The  Mont Cervin (4,478m -14,691ft) also known as the Matterhorn is an alpine summit located on the Swiss-Italian border between the canton of Valais and the Aosta Valley in Switzerland. It has several other names: Cervino in Italian, Grand'Bèca in Arpitan, Matterhorn in German. The Cervin / Matterhorn is the most famous mountain in Switzerland, including the pyramidal shape that it offers from the village of Zermatt, in the German-speaking part of the canton of Valais.

Its four sides are joined about 400 meters below the summit in a summit pyramid, called "roof." Its summit is a broad ridge about two meters, on which stand actually two summits: one called "Swiss summit," the farther east, and the "Italian summit" slightly lower (4,476 meters), on the west side of the ridge. The two are separated by a notch in the hollow of which a cross was laid in September 1901.

- More about Mont Cervin / Matterhorn

The painter 
Emil Nolde (born Emil Hansen) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke (The Bridge) of Dresden in 1906, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.
Nolde's intense preoccupation with the subject of flowers reflects his continuing interest in the art of Vincent van Gogh.
From the early 1920s,  Nolde was a supporter of the Nazi party, having become a member of its Danish section. He expressed anti-semitic, negative opinions about Jewish artists, and considered "Expressionism to be a distinctively Germanic style". This view was shared by some other members of the Nazi party, notably Joseph Goebbels and Fritz Hippler.
However Hitler rejected all forms of modernism as "degenerate art", and the Nazi regime officially condemned Nolde's work. Until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, more than those of any other artist.  Some were included in the Degenerate Art exhibition of 1937, despite his protests, including (later) a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint—even in private—after 1941. Nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the "Unpainted Pictures".
In 1942 Nolde wrote: "There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones...and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed."
After World War II, Nolde was once again honored, receiving the German Order of Merit, He died in Seebüll (now part of Neukirchen). The Schiefler Catalogue raisonné of his prints describes 231 etchings, 197 woodcuts, 83 lithographs, and 4 hectographs.

About this work 
The postcards series date from  pre-expressionist phase of Nolde’s career (though he was around 30 when he created them). After hiking in the Swiss Alps, Nolde did a painting, Mountain Giants, presenting the mountains in human form. Nolde wrote : “The picture went to the annual exhibition in Munich in 1896. [Ferdinand] Hodler’s picture “Night”  which established his fame, was also there. But my “Mountain Giants" was soon returned, rejected… In those days there was a general and stormy derision and ridicule about each of Hodler’s pictures. ‘And his colors are as ugly as can be possible!’ What help was my contradiction and my firm conviction that his sinuous, pushing, wry bodies are part of the character of the mountain folk, just as the firs on the mountain slopes are gnarled and grown oddly.” From then, he painted practically every Swissw Alps Summit in human form: the Zugspitze, the Waxenstein, the Eiger, the Monch, the Jungfrau, the Grand Saint- Gothard, Piz Bernina, the Morteratch, the Ortler, the Finsteraarhorn... they will be posted one after one in this blog, the Cervin / Matterhorn being the first one.

PIZ GREVLASALVAS PAINTED BY GIOVANNI GIACOMETTI

GIOVANNI GIACOMETTI (1868-1933) 

Piz Grevalsalvas  (2,932 m -9,619 ft)

Swizterland 

 In Piz Grevalsalvas 1927, oil on canvas, Private coll.  

The mountain 

Piz Grevalsalvas (2,932 m -9,619 ft) is a mountain of the Albula Alps, located north of Maloja in the canton oSwitzerland Graubünden. It lies on the range between the Julier Pass and Lake Sils.

This is a ski mountain, where ski activity is intense in winter. From Piz Grevasalvas was stunning views of the Upper Engadine and Surgôt, upper Oberhalbstein. The neighboring peaks are Piz Mater Dell and Radonda Motta (in the club guide called Piz Nalar SAC) Lunghin Piz and Piz dal Sasc.

It is on the Grevasalvas that was filmed the famous children's series "Heidi" in 1978.

The painter 

Giovanni Giacometti was a Swiss painter, the father of  the famous painter and sculptor Alberto  Giacometti, and of Diego Giacometti, the furniture designer as well as the father of the architect Bruno Giacometti ! In 1886, he studied painting at the School of Decorative Arts in Munich, where he met Cuno Amiet the following year. Both decide to pursue their studies in Paris, in October stood at the Académie Julian, where Giacometti remains until 1891.

In 1893, shortly after his return to Switzerland, to Bergell, he became friends with Giovanni Segantini, his eldest ten years, which has great influence on his work by opening it to the beauty of the mountain scenery and the rules of divisionism. After his sudden death in 1899, Giacometti met Ferdinand Hodler, who teaches him to create a rigorous and ornamental composition by appropriate use of shapes and colors.

He sees regularly Cuno Amiet, who after a year spent in Pont-Aven,  shared his experience with him. In 1900 he exhibited in the Swiss Pavillon of the Universal Exhibition in Paris. From 1905, Giacometti works again in a great complicity with Amiet and begins to break free from the influence of Segantini. In 1906, held an exhibition of his work at Kunstlerhaus Zurich. In 1907 he went to Paris with Amiet to the Cézanne retrospective at the Salon d'Automne. They copy all the works of Van Gogh. In 1908, he exhibited with the French Fauves at the Richter Gallery in Dresden.

In 1909, the Tannhauser Gallery presents his works in Munich. He meets Alexi von Jawlensky, and in 1911 participates in the Berlin Secession. In 1912, Giacometti has a solo show at the Kunsthaus Zurich presents two works in the Sonderbund of Cologne. In 1918 after Hodler' s death, he began to be involved into the Swiss political world  paying an important part as a committed artist, following intthat way friend Amiet.
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2016 - Wandering Vertexes...
by Francis Rousseau
 

THE ZUGSPITZE AND THE WAXENSTEIN BY EMIL NOLDE

EMIL NOLDE (1867-1956) 

Die Zugspitze (2,962m - 9,718 ft) 

Die Waxenstein (2,277m - 7,470ft)

 Germany (Bavaria)

  In  The Zugspitze and Waxenstein, postcard 

About this work 

The postcards series date from  pre-expressionist phase of Nolde’s career (though he was around 30 when he created them). After hiking in the Swiss Alps, Nolde did a painting, Mountain Giants, presenting the mountains in human form. Nolde wrote : “The picture went to the annual exhibition in Munich in 1896. Ferdinand Hodler’s picture “Night”  which established his fame, was also there. But my “Mountain Giants" was soon returned, rejected… In those days there was a general and stormy derision and ridicule about each of Hodler’s pictures. ‘And his colors are as ugly as can be possible!’ What help was my contradiction and my firm conviction that his sinuous, pushing, wry bodies are part of the character of the mountain folk, just as the firs on the mountain slopes are gnarled and grown oddly.” From then, he painted practically every Swiss Alps Summit in human form: the Zugspitze, the Waxenstein, the Eiger, the Monch, the Jungfrau, the Grand Saint- Gothard, Piz Bernina, the Morteratch, the Ortler, the Finsteraarhorn... they will be posted one after one in this blog, the Cervin / Matterhorn being the first one.

The mountain 

The Zugspitze (2,962m -9,718 ft) above sea level, is the highest peak of the Wetterstein Mountains as well as the highest mountain in Germany. It lies south of the town of Garmisch-Partenkirchen, and the border between Germany and Austria runs over its western summit. South of the mountain is the Zugspitzplatt, a high karst plateau with numerous caves. On the flanks of the Zugspitze are three glaciers, including the two largest in Germany: the Northern Schneeferner with an area of 30.7 hectares and the Höllentalferner with an area of 24.7 hectares. The third is the Southern Schneeferner which covers 8.4 hectares.

The Waxenstein (2,277m - 7,470ft) is an Alpine summit, at an altitude of 2,227 m, in the Wetterstein, Germany (Bavaria). It is composed of five points: the Großer Waxenstein ; the Vorderer Waxenstein  ; the Zwölferkopf ; the Mittagscharte and  the Männ.

The painter 

Emil Nolde (born Emil Hansen) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke (The Bridge) of Dresden in 1906, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.

2018 - Wandering Vertexes...
Un blog de Francis Rousseau, #BlogWanderingVertexes, #mountainpaintings

PIZ CORVATSCH PAINTED BY GIOVANNI GIACOMETTI

GIOVANNI GIACOMETTI (1868-1933)

Piz Corvatsch (3,451m - 11, 322 ft) 

Switzerland

In Piz Corvatsch, watercolor

The mountain

Piz Corvatsch  (3,451m- 11, 322 ft) is a mountain in the Bernina Range of the Alps, overlooking Lake Sils and Lake Silvaplana in the Engadin region of the canton of Graubünden in Switzerland. It is the highest point on the range separating the main Inn valley from the Val Roseg. Aside from Piz Corvatsch, two other slightly lower summits make up the Corvatsch massif: Piz Murtèl (3,433 m (11,263 ft); north of Piz Corvatsch) and the unnamed summit where lies the Corvatsch upper cable car station (3,303 m (10,837 ft); north of Piz Murtèl). Politically, the summit of Piz Corvatsch is shared between the municipalities of Sils im Engadin and Samedan, although the 3,303 m high summit lies between the municipalities of Silvaplana and Samedan. The tripoint between the aforementioned municipalities is the summit of Piz Murtèl.

Several glaciers lie on the east side on the massif. The largest, below Piz Corvatsch, is named Vadret dal Murtèl. The second largest, below Piz Murtèl and the station, is named Vadret dal Corvatsch.

The Corvatsch cable car starts above the village of Surlej, east of Silvaplana and culminates at 3,298 m. From there, the summit of Piz Corvatsch can be reached by traversing Piz Murtиl. In winter and spring, the mountain is part of a ski area, which is amongst the highest in Switzerland and the Eastern Alps.

The painter 

Giovanni Giacometti was a Swiss painter, the father of  the famous painter and sculptor Alberto  Giacommetti, and of Diego Giacometti, the furniture designer as well as the father of the architect Bruno Giacometti !

In 1886, he studied painting at the School of Decorative Arts in Munich, where he met Cuno Amiet the following year. Both decide to pursue their studies in Paris, in October stood at the Académie Julian, where Giacometti remains until 1891.

In 1893, shortly after his return to Switzerland, to Bergell, he became friends with Giovanni Segantini, his eldest ten years, which has great influence on his work by opening it to the beauty of the mountain scenery and the rules of divisionism. After his sudden death in 1899, Giacometti met Ferdinand Hodler, who teaches him to create a rigorous and ornamental composition by appropriate use of shapes and colors.

He sees regularly Cuno Amiet, who after a year spent in Pont-Aven,  shared his experience with him. In 1900 he exhibited in the Swiss Pavillon of the Universal Exhibition in Paris. From 1905, Giacometti works again in a great complicity with Amiet and begins to break free from the influence of Segantini. In 1906, held an exhibition of his work at Kunstlerhaus Zurich. In 1907 he went to Paris with Amiet to the Cézanne retrospective at the Salon d'Automne. They copy all the works of Van Gogh. In 1908, he exhibited with the French Fauves at the Richter Gallery in Dresden.

In 1909, the Tannhauser Gallery presents his works in Munich. He meets Alexi von Jawlensky, and in 1911 participates in the Berlin Secession. In 1912, Giacometti has a solo show at the Kunsthaus Zurich presents two works in the Sonderbund of Cologne. In 1918 after Hodler' s death, he began to be involved into the Swiss political world  paying an important part as a committed artist, following intthat way friend Amiet.

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2017 - Wandering Vertexes...
by Francis Rousseau
 

PIZ BERNINA & MORTERATSCH BY EMIL NOLDE

Emil Nolde  (1867-1956) 

Piz Bernina (4, 049m- 13, 283ft) 

Switzerland - Italy border 

In  La belle Bernina et le vieux Morteratsch, postcard 

About this work 

The postcards series date from  pre-expressionist phase of Nolde’s career (though he was around 30 when he created them). After hiking in the Swiss Alps, Nolde did a painting, Mountain Giants, presenting the mountains in human form. Nolde wrote : “The picture went to the annual exhibition in Munich in 1896. [Ferdinand] Hodler’s picture “Night”  which established his fame, was also there. But my “Mountain Giants" was soon returned, rejected… In those days there was a general and stormy derision and ridicule about each of Hodler’s pictures. ‘And his colors are as ugly as can be possible!’ What help was my contradiction and my firm conviction that his sinuous, pushing, wry bodies are part of the character of the mountain folk, just as the firs on the mountain slopes are gnarled and grown oddly.” From then, he painted practically every Swissw Alps Summit in human form: the Zugspitze, the Waxenstein, the Eiger, the Monch, the Jungfrau, the Grand Saint- Gothard, Piz Bernina, the Morteratch, the Ortler, the Finsteraarhorn... they will be posted one after one in this blog, the Cervin / Matterhorn being the first one.

The mountain 

Piz Bernina or Pizzo Bernina (4, 049m- 13, 283ft)  is the highest mountain in the Eastern Alps, the highest point of the Bernina Range, and the highest peak in the Rhaetian Alps. It is located south of Pontresina and near the major Alpine resort of St. Moritz, in the Engadin valley with the massif partially in Italy.  The mountain can be seen from different viewpoints with the use of ski-lifts from Diavolezza, Piz Corvatsch or Piz Nair. It is also the most easterly mountain higher than 4,000 m (13,000 ft) in the Alps, the highest point of the Swiss canton of Graubünden, and the fifth-most prominent peak in the Alps. The minor summit (4,020 m -13,190 ft) known as La Spedla is the highest point in the Italian Lombardy region. The mountain was named after the Bernina Pass in 1850 by Johann Coaz, who also made the first ascent.  The prefix Piz comes from the Romansch language in Graubünden; any mountain with that name can be readily identified as being located in southeastern Switzerland.
The Morteratsch Glacier  is the largest glacier in the Bernina Mountains. It is located in the canton of Grisons in Upper Engadine. It has a maximum length of 7 km with a height difference of 2,000 m and ends at the highest point on Punta Perrucchetti at 4,020 m. It covers with the Pers glacier about 16 km2. Between 1878 and 1998, the glacier retreated 1.8 km with an annual average of about 17.2 meters. The decline has accelerated in recent years with an average of 30 meters per year from 1999-2005. At the confluence with the Pers Glacier, the Morteratsch Glacier behaves like a natural dam blocking the runoff and the origin of a small lake.

The painter 

Emil Nolde (born Emil Hansen) was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke (The Bridge) of Dresden in 1906, and was one of the first oil painting and watercolor painters of the early 20th century to explore color. He is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.

Nolde's intense preoccupation with the subject of flowers reflects his continuing interest in the art of Vincent van Gogh.

From the early 1920s,  Nolde was a supporter of the Nazi party, having become a member of its Danish section. He expressed anti-semitic, negative opinions about Jewish artists, and considered "Expressionism to be a distinctively Germanic style". This view was shared by some other members of the Nazi party, notably Joseph Goebbels and Fritz Hippler.

However Hitler rejected all forms of modernism as "degenerate art", and the Nazi regime officially condemned Nolde's work. Until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, more than those of any other artist.  Some were included in the Degenerate Art exhibition of 1937, despite his protests, including (later) a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint—even in private—after 1941. Nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the "Unpainted Pictures".

In 1942 Nolde wrote: "There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones...and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed."

After World War II, Nolde was once again honored, receiving the German Order of Merit, He died in Seebüll (now part of Neukirchen). The Schiefler Catalogue raisonné of his prints describes 231 etchings, 197 woodcuts, 83 lithographs, and 4 hectographs.

PIZ CORVATSCH PEINT PAR GIOVANNI GIACOMETTI

 

GIOVANNI GIACOMETTI (1868-1933)
Piz Corvatsch (3 451 m - 11 322 ft)
Suisse (Grisons)

In "Capolago avec vue sur Corvatsch", vers 1926, Collection privée

Le peintre
Giovanni Giacometti était un peintre suisse, le père du célèbre peintre et sculpteur Alberto Giacometti, et de Diego Giacometti, le designer de meubles ainsi que le père de l'architecte Bruno Giacometti ! En 1886, il étudie la peinture à l'École des arts décoratifs de Munich, où il rencontre Cuno Amiet l'année suivante. Tous deux décident de poursuivre leurs études à Paris, en octobre s'inscrit à l'Académie Julian, où Giacometti reste jusqu'en 1891.
En 1893, peu après son retour en Suisse, à Bergell, il se lie d'amitié avec Giovanni Segantini, son aîné de dix ans, qui a une grande influence sur son œuvre en l'ouvrant à la beauté des paysages montagnards et aux règles du divisionnisme. Après sa mort subite en 1899, Giacometti rencontre Ferdinand Hodler, qui lui apprend à créer une composition rigoureuse et ornementale par une utilisation appropriée des formes et des couleurs.
Il voit régulièrement Cuno Amiet qui, après un an passé à Pont-Aven, lui fait part de son expérience. En 1900, il expose au Pavillon suisse de l'Exposition universelle de Paris. A partir de 1905, Giacometti travaille à nouveau dans une grande complicité avec Amiet et commence à s'affranchir de l'influence de Segantini. En 1906, a organisé une exposition de son travail au Kunstlerhaus de Zurich. En 1907, il se rend à Paris avec Amiet pour la rétrospective Cézanne au Salon d'Automne. Ils copient toutes les oeuvres de Van Gogh. En 1908, il expose avec les Fauves français à la galerie Richter de Dresde.
En 1909, la galerie Tannhauser présente ses œuvres à Munich. Il rencontre Alexi von Jawlensky, et en 1911 participe à la Sécession de Berlin. En 1912, Giacometti fait une exposition personnelle au Kunsthaus de Zurich et présente deux œuvres au Sonderbund de Cologne. En 1918, après la mort de Hodler, il commence à s'impliquer dans le monde politique suisse en y jouant un rôle important en tant qu'artiste engagé, à la suite en cela de son ami Amiet.

La montagne
Le Pic Corvatsch (3 451 m - 11 322 ft) est une montagne de la chaîne des Alpes de la Bernina, surplombant le lac de Sils et le lac de Silvaplana dans la région de l'Engadine, Canton des Grisons en Suisse. C'est le point culminant du massif séparant la vallée principale de l'Inn du Val Roseg. Outre le Piz Corvatsch, deux autres sommets légèrement inférieurs composent le massif du Corvatsch : le Piz Murtèl (3 433 m (11 263 ft) ; au nord du Piz Corvatsch) et le sommet sans nom où se trouve la station supérieure du téléphérique du Corvatsch (3 303 m (10 837 ft) ; au nord du Piz Murtèl). Politiquement, le sommet du Piz Corvatsch est partagé entre les communes de Sils im Engadin et Samedan, bien que le sommet de 3 303 m se situe entre les communes de Silvaplana et Samedan.
Plusieurs glaciers se trouvent du côté est du massif. Le plus grand, en dessous du Piz Corvatsch, s'appelle Vadret dal Murtèl. Le deuxième plus grand, en dessous du Piz Murtèl et de la gare, s'appelle Vadret dal Corvatsch.
Le téléphérique du Corvatsch démarre au-dessus du village de Surlej, à l'est de Silvaplana et culmine à 3 298 m. De là, le sommet du Piz Corvatsch peut être atteint en traversant le Piz Murtil. En hiver et au printemps, la montagne fait partie d'un domaine skiable parmi les plus hauts de Suisse et des Alpes orientales.

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

PIZ BALZET, PUNTA DE L'ALBIGNA, SPAZZACALDEIRA BY GIOVANNI GIACOMETTI

GIOVANNI GIACOMETTI (1868-1933)
Piz Balzet (2, 869 m - 9,413 ft)
Punta de l'Albigna (2,825 m - 9,268 ft)
Spazzacaldeira (2,487 m- 8,159 ft)
Switzerland
 In  Albigna Valley, oil on canvas,  1932

The Mountains 

The Piz Balzet  (2, 869 m - 9,413 ft)  is a  tall granite mountain located in Bergell, Switzerland. Standing just on the eastern edge of the Albigna reservoir it is clearly visible when driving down from the Maloja-pass to the north and from the campsite at Vicosoprano. Seen from this (its western) side the Balzet is an imposing picture; very steep slabs fall off into the valley and several ridges make their way to the well defined summit. A different picture entirely is presented when the mountain is viewed from its southern side; from this side there are no steep drops to valley floors far below. Instead, it is 'merely' a summit in the ridge leading up to the Piz Bacun (3,244m).
The Punta da l'Albigna  (2,825 m - 9,268 ft) is an easily recognizable summit on the eastern side of the Albigna lake in the Bergell, an area in south-eastern Switzerland famous for its multitude of alpine rock climbs on excellent granite. Along with the Spazzacaldeira and the Piz Balzet, the Punta da l'Albigna ranks among the most popular climbing hotspots in the Albigna area. It hosts numerous routes from 4a to 5c and varying in length between 8 and 12 ropelengths. Most of the routes are bolted, though some rather sparingly
Spazzacaldeira (2,487 m- 8,159 ft) is the name of the ridge directly west of the Albigna reservoir, just to the north of the Al Gal. It offers a multitude of alpine-sport routes across its eastern face and the north-east ridge is a well known classic in the area. Because of the generally well bolted nature of the routes and the incredibly easy access via the nearby cable car station, Spazzacaldeira can attract a large number of climbers. Most of them will be aiming for the summit pinnacle, the famous Fiamma, a striking summit spire seen on many local postcards.

The painter
Giovanni Giacometti was a Swiss painter, the father of the famous painter and sculptor Alberto Giacometti, and of Diego Giacometti, the furniture designer as well as the father of the architect Bruno Giacometti ! In 1886, he studied painting at the School of Decorative Arts in Munich, where he met Cuno Amiet the following year. Both decide to pursue their studies in Paris, in October stood at the Académie Julian, where Giacometti remains until 1891.
In 1893, shortly after his return to Switzerland, to Bergell, he became friends with Giovanni Segantini, his eldest ten years, which has great influence on his work by opening it to the beauty of the mountain scenery and the rules of divisionism. After his sudden death in 1899, Giacometti met Ferdinand Hodler, who teaches him to create a rigorous and ornamental composition by appropriate use of shapes and colors.
He sees regularly Cuno Amiet, who after a year spent in Pont-Aven, shared his experience with him. In 1900 he exhibited in the Swiss Pavillon of the Universal Exhibition in Paris. From 1905, Giacometti works again in a great complicity with Amiet and begins to break free from the influence of Segantini. In 1906, held an exhibition of his work at Kunstlerhaus Zurich. In 1907 he went to Paris with Amiet to the Cézanne retrospective at the Salon d'Automne. They copy all the works of Van Gogh. In 1908, he exhibited with the French Fauves at the Richter Gallery in Dresden.
In 1909, the Tannhauser Gallery presents his works in Munich. He meets Alexi von Jawlensky, and in 1911 participates in the Berlin Secession. In 1912, Giacometti has a solo show at the Kunsthaus Zurich presents two works in the Sonderbund of Cologne. In 1918 after Hodler' s death, he began to be involved into the Swiss political world paying an important part as a committed artist, following int that way friend Amiet.

___________________________
2021 - Wandering Vertexes...
by Francis Rousseau

PIZ LAGREV PAINTED BY GIOVANNI GIACOMETTI

GIOVANNI GIACOMETTI (1868-1933)

Piz Lagrev (3,165m - 10,384 ft)

Switzerland

In   Maloja et le Piz Lagrev , oil on canvas, private collection 

The mountain 
Piz Lagrev (3,165m - 10,384 ft) is a mountain of the Albula Alps, overlooking Lake Sils in the Swiss canton of Graubunden. On its northern side lies the Julier Pass. Piz Lagrev is the culminating point of the range lying between the Septimer Pass and the Julier Pass. Northeast of Piz Lagrev is a small glacier named Vadret Lagrev and an unnamed lake at its bottom.

The painter 
Giovanni Giacometti was a Swiss painter, the father of  the famous painter and sculptor Alberto  Giacometti, and of Diego Giacometti, the furniture designer as well as the father of the architect Bruno Giacometti ! In 1886, he studied painting at the School of Decorative Arts in Munich, where he met Cuno Amiet the following year. Both decide to pursue their studies in Paris, in October stood at the Académie Julian, where Giacometti remains until 1891.
In 1893, shortly after his return to Switzerland, to Bergell, he became friends with Giovanni Segantini, his eldest ten years, which has great influence on his work by opening it to the beauty of the mountain scenery and the rules of divisionism. After his sudden death in 1899, Giacometti met Ferdinand Hodler, who teaches him to create a rigorous and ornamental composition by appropriate use of shapes and colors.
He sees regularly Cuno Amiet, who after a year spent in Pont-Aven,  shared his experience with him. In 1900 he exhibited in the Swiss Pavillon of the Universal Exhibition in Paris. From 1905, Giacometti works again in a great complicity with Amiet and begins to break free from the influence of Segantini. In 1906, held an exhibition of his work at Kunstlerhaus Zurich. In 1907 he went to Paris with Amiet to the Cézanne retrospective at the Salon d'Automne. They copy all the works of Van Gogh. In 1908, he exhibited with the French Fauves at the Richter Gallery in Dresden.
In 1909, the Tannhauser Gallery presents his works in Munich. He meets Alexi von Jawlensky, and in 1911 participates in the Berlin Secession. In 1912, Giacometti has a solo show at the Kunsthaus Zurich presents two works in the Sonderbund of Cologne. In 1918 after Hodler' s death, he began to be involved into the Swiss political world  paying an important part as a committed artist, following intthat way friend Amiet.
 ______________________________

2018 - Wandering Vertexes...
by Francis Rousseau

ELLMAUER HALT PAINTED BY ALFONS WALDE

ALFONS WALDE (1891-1958)

Ellmauer Halt (2,344 m  - 7,690 ft)

Austria

  In  Büchlach et le Wilder Kaiser, oil on paper, 1925

The mountain 
The Ellmauer Halt (2,344 m  - 7,690 ft)  is an alpine summit,  the highest point of the Kaisergebirge, and in particular the Wilder Kaiser range in Austria (Tyrolean Land).
The massif is surrounded by the Chiemgau Alps to the north, the Loferer Steinberge to the east, the Kitzbühel Alps to the south and the Brandenberg Alps to the west.
It is bordered on the west by the Inn.
It is composed of two main links oriented in an east-west axis about twenty kilometers long: the highest, the Wilder Kaiser (literally "Wild Emperor") in the south, and the Zahmer Kaiser ("Emperor Tamed") in North. They are separated by the Kaisertal ("Valley of the Emperor") and are connected only at the Stripsenjoch, at 1,580 meters above sea level.
The first dated traces of the human settlement in the Kaisergebirge are estimated from the 3rd millennium BC. These are the remains of hunters from the Stone Age in the cave of Tischof. Other finds prove the presence of settlements in the Bronze Age in the cavities. The documents relating to the settlement of Kaisertal in the Middle Ages date back to 1430. This is a contract to sell a farm called Hinterkaiser. The name "Kaiser" in this area is older and is already in 1240 in a list of goods Kitzbühel enacted by a certain Gamsgiayt Chaiser.
Tourism development begins in the Kaisergebirge in the second half of the 19th century. Until the end of this century, there are also many firsts. However, it is assumed that the greatest peaks had already been sporadically erected by the natives without this having ever been manifested. Then, until the First World War, the limestone walls of the Wilder Kaiser were the cradle of the Munich climbing scene, where the famous pioneers such as Hans Dülfer completely revolutionized the climbing adventure and athletic. Then, until the 1960s, the fixation techniques of these two disciplines were practically completed. In 1977, the 7th degree of difficulty is introduced with the free climbing of Pumprisse by Reinhard Karl and Helmut Kiene at Fleischbank. In the 1970s and 1980s, a series of sometimes extremely difficult sports routes were opened in the massif.

The artist 

Alfons Walde  was an Austrian artist and architect, best known for his winter landscapes and farming images, especially skiing and sporting scenes, painted in tempera or impastoed oil paint. Many of his paintings can be seen in the Museum gallery in Kitzbühel.
Walde  produced his first watercolour and tempera paintings during his school days. From 1910 to 1914 he studied architecture at the Technische Hochschule in Vienna, while continuing his education as a painter. In the Danubian metropolis he moved in artistic circles that included Egon Schiele and Gustav Klimt, and he became influenced by Ferdinand Hodler.
In 1911 Walde had his first exhibition in Innsbruck, and in 1913 presented four farm pictures at the prestigious Vienna Secession exhibition. From 1914 to 1917 he actively participated in World War I as a Tyrolean Kaiserschütze in the high mountains. After returning to Kitzbühel, he fully devoted himself to painting and participated again in exhibitions of the Secession and the Vienna Künstlerhaus throughout the 1920s. He was active as a graphic artist, and beginning in 1926 designed many posters.
By around 1928 Walde had finally found his own characteristic style, one that gave expression to both the Tyrolean mountain scenery – particularly the living winter landscapes – and its robust people through the use of highly reduced drawings and pastel colouring. Throughout the rest of his artistic career his work stayed with the subject of his homeland, and retained the same distinct native style.

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2019 - Wandering Vertexes...
by Francis Rousseau 

THE JUNGFRAU PAINTED BY GIORGIO AVANTI

 

 

GIORGIO AVANTI (c.1946)

Jungfrau (4,158 m - 13, 642 ft) 

Switzerland

 

In Jungfrau 2019, oil on acrylic on canvas, 100 x 120 cm. Courtesy John Mitchell Gallery, London

The artist
A recognized Swiss author, poet and painter, Peter Studer uses ‘Giorgio Avanti’ as a pseudonym. He lives and works from a studio in Walchwil on the eastern shore of Lake Zug, in the heart of Switzerland.
Avanti’s use of intense colour has earned him the epithet as the colourist of the Alps and a lengthy article published about his life and work that came out in the October and November 2020 edition of Munich’s art magazine, Mundus, was subtitled The Kolorist der Alpen. Drawing parallels with the Polish colourists of the 1930s and 1940s, the closest living counterpart to Avanti is the recently deceased American painter, Wolf Kahn.
Studer was born in Luzern and studied for a career in law before taking up abstract painting in the 1980s. Moving to portraiture and genre scenes a decade later, Studer has spent the latter half of his career concentrating on the Swiss Alps. Mundus’s journalist, Lena Naumann, characterizes Avanti as a twenty-first century disciple of Giovanni Segantini in his interpretation of the Alps whereas the painter would align himself just as closely with the work of Ferdinand Hodler, the leading Swiss painter of the late nineteenth century and Willy Guggenheim, known as Varlin.
Peter Studer refers to his gift for poetry and short stories as ‘painting with words’. His vibrant canvases display their own poetry, one derived entirely from colour.

The mountain
The Jungfrau (4,158 m - 13,642 ft) ("The virgin" in german) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps. It is one of the most represented by artists summits with the Matterhorn and the Mont Blanc. The summit was first reached on August 3, 1811 by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened. The construction of the Jungfrau railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.
Politically, the Jungfrau is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.
The landscapes around the Jungfrau are extremely contrasted. Instead of the vertiginous precipices of the north-west, the south-east side emerges from the upper snows of the Aletsch Glacier at around 3,500 metres. The 20 km long valley of Aletsch on the south-east is completely uninhabited and also surrounded by other similar glacier valleys. The whole area constitutes the largest glaciated area in the Alps as well as in Europe.
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2021 - Wandering Vertexes...
by Francis Rousseau