MONT VINAIGRE & L'ESTEREL PAINTED BY CLAUDE MONET

CLAUDE MONET (1840-1926) 

Mont Vinaigre  (618m - 2,027ft) 

France (Provence Alpes Côte d'Azur) 

In Antibes,Montagnes de L'Estérel, 1888, oil on canvas,  Courtauld Institute Galleries London 

The mountain 

This view of L'Esterel from Antibes by Monet allows to see the whole Massif of the Esterel from Frejus to Antibes and its seven summits which are from left to right:  Mont Vinaigre (618 m- 2,027 ft), Mont Suvières (558m - 1831ft), Sommet du Marsaou (548m -1,798ft), Pic de l'Ours (492m-1,614ft),  Pic du Cap-Roux  (453m-1,486ft), the Saint-Pilon (442 m-1,450ft) and the Sommet Pelet (439m-1,440ft). The Esterel Massif is a low altitude volcanic mountain range of 32,000 hectares located on the shores of the Mediterranean Sea. It covers the south-east of the Var, a small part located in the Alpes-Maritimes, France. Separated from the Moors by the valley of the Argens, the relief of the Estelle is shredded and deeply ravined. The massif extends over 320 km2 of which 130 km2 classified and protected. 60 km2 of state forest are maintained by the National Forestry Office.

The heart of the massif is protected by a decree of 1996. In the part of Alpes-Maritimes, a departmental park of 772 ha was created in 1997. It shelters a population of red deer, introduced in 1961. In the Var, a Biological reserve protects nearly 800 hectares. The massif is a site of the Natura 2000 network responsible for the preservation of nature in Europe.

Mount Vinaigre (Mount Vinagar) located in Frejus is the highest peak in the Massif de l' Esterel and was the hideout of robbers. Gaspard de Besse (1757-1781), which robbed travelers and tax agents in the 18th century, sheltered there. Mont Vinaigre was also the refuge of the convicts escaped from the jail in Toulon.Today, Mount Vinaigre is not completely accessible to the public It can be approached by taking  the road DN7 between Fréjus and Mandelieu-la-Napoule, 3 km before the crossing with the road D237. There, a paved DFCI trail could allow access to its summit but it ends 1 kilometer after the forest house of Malpey.  Only vehicles belonging to the French National Forestry Office or rescue vehicles are allowed to pass this point.

The painter 

Oscar-Claude Monet  better known as Claude Monet  was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term "Impressionism" is derived from the title of his painting « Impression, soleil levant » (Impression, Sunrise), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris.
Monet's ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons exactly like the japanese artist  Hokusai (1760-1849) did with his 36 views of Mount Fuji.
Monet has been described as "the driving force behind Impressionism". Crucial to the art of the Impressionist painters was the understanding of the effects of light on the local colour of objects, and the effects of the juxtaposition of colours with each other. Monet's long career as a painter was spent in the pursuit of this aim.
In 1856, his chance meeting with Eugene Boudin, a painter of small beach scenes, opened his eyes to the possibility of plein-air painting. From that time, with a short interruption for military service, he dedicated himself to searching for new and improved methods of painterly expression. To this end, as a young man, he visited the Paris Salon and familiarised himself with the works of older painters, and made friends with other young artists.[54] The five years that he spent at Argenteuil, spending much time on the River Seine in a little floating studio, were formative in his study of the effects of light and reflections. He began to think in terms of colours and shapes rather than scenes and objects. He used bright colours in dabs and dashes and squiggles of paint. Having rejected the academic teachings of Gleyre's studio, he freed himself from theory, saying "I like to paint as a bird sings."
In 1877 a series of paintings at  Gare St-Lazare had Monet looking at smoke and steam and the way that they affected colour and visibility, being sometimes opaque and sometimes translucent. He was to further use this study in the painting of the effects of mist and rain on the landscape.  The study of the effects of atmosphere were to evolve into a number of series of paintings in which Monet repeatedly painted the same subject in different lights, at different hours of the day, and through the changes of weather and season. This process began in the 1880s and continued until the end of his life in 1926.
His first series exhibited as such was of Haystacks, painted from different points of view and at different times of the day. Fifteen of the paintings were exhibited at the Galerie Durand-Ruel in 1891. In 1892 he produced what is probably his best-known series, Twenty-six views of Rouen Cathedral. In these paintings Monet broke with painterly traditions by cropping the subject so that only a portion of the facade is seen on the canvas. The paintings do not focus on the grand Medieval building, but on the play of light and shade across its surface, transforming the solid masonry.
Other series include Peupliers, Matins sur la Seine, and the Nenuphars  that were painted on his property at Giverny. Between 1883 and 1908, Monet traveled to the Mediterranean, where he painted landmarks, landscapes, and seascapes, including a series of paintings in Antibes (above)  and Venice. In London he painted four series: the Houses of Parliament, London ; Charing Cross Bridge, ; Waterloo Bridge, and Views of Westminster Bridge. Helen Gardner writes: "Monet, with a scientific precision, has given us an unparalleled and unexcelled record of the passing of time as seen in the movement of light over identical forms."

MONT AGEL PAINTED BY CLAUDE MONET

CLAUDE MONET  (1840-1926)
Mont Agel  (1,151m - 3,776 ft)
France - Monaco border

In Cap Martin près de Menton, Huile sur toile, Museum of Fine Arts, Boston 

The mountain
Mont Agel (1,151m - 3,776 ft) is a summit of the Alps located in the South of France, overlooking part of the French Riviera, Monaco, Beausoleil, Roquebrune-Cap-Martin... exactly as shwon in the Monet's painting above !
It has held a historic strategic position since Antiquity and still houses military aerial detection installations today. Mount Agel is precisely located in the French commune of Peille, ( Provence-Alpes-Côte d'Azur region). It rises in the Prealps of Nice and constitutes the highest point of the Monegasque watershed. The highest point of the principality, of Monaco, on the slopes of this mountain, can be reached by the Chemin des Révoires. A massive summit, Mount Agel is visible from a great distance: from certain districts of Nice as well as from a large part of the French Riviera between Cannes, Antibes, Nice, Antibes, and the Principality of Monaco and likewise from the Italian Riviera to around Vintimiglia and Bordighiera.
The history of Mount Agel begins with the Celto-Ligurian tribes who occupied the site and some of whose members were involved in the boarding and looting of boats engaged in cabotage. They are submitted from 23 to 13 BC. BC by the Romans who restored the old coastal route passing through the slopes of Mount Agel to link Ventimiglia to Narbonne Gaul and forming part of the Via Aurelia.
From 1931, new elements of fortification were built within the framework of the Maginot line.
Mount Agel now houses a large work of artillery equipped with turrets, linked together by deeply buried galleries. During the fighting of June 1940, his shots participated in the defense of Menton and supported the outpost of Pont-Saint-Louis and the work of Cap-Martin.
Until 2012, the 943 Capitaine Auber air base of the French Air Force was located there.
Today, only radars remain, which continue their watch in automatic mode, the information being transmitted and used by the Detection and Control Center at 942 Lyon-Mont Verdun air base.
Mount Agel also shelters on its slopes, the Monte-Carlo Golf Club, a very selective club. A little to the east of the golf course is the transmitter center of Fontbonne. Until its recent redevelopment, there were various protohistoric constructions.
Close to Mount Agel and the golf course is also the summer residence of Princes of Monaco (Rocagel site).

The painter
The painter Oscar-Claude Monet better known as Claude Monet was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term "Impressionism" is derived from the title of his painting « Impression, soleil levant » (Impression, Sunrise), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris.
Monet's ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons exactly like the japanese artist Hokusai (1760-1849) did with his 36 views of Mount Fuji.
Monet repeated this kinf of "exercise de stylee with his series on Les Petites Dalles. and Kolsass mountain.
Monet has been described as "the driving force behind Impressionism". Crucial to the art of the Impressionist painters was the understanding of the effects of light on the local colour of objects, and the effects of the juxtaposition of colours with each other. Monet's long career as a painter was spent in the pursuit of this aim.
In 1856, his chance meeting with Eugene Boudin, a painter of small beach scenes, opened his eyes to the possibility of plein-air painting. From that time, with a short interruption for military service, he dedicated himself to searching for new and improved methods of painterly expression. To this end, as a young man, he visited the Paris Salon and familiarised himself with the works of older painters, and made friends with other young artists.[54] The five years that he spent at Argenteuil, spending much time on the River Seine in a little floating studio, were formative in his study of the effects of light and reflections. He began to think in terms of colours and shapes rather than scenes and objects. He used bright colours in dabs and dashes and squiggles of paint. Having rejected the academic teachings of Gleyre's studio, he freed himself from theory, saying "I like to paint as a bird sings."
In 1877 a series of paintings at Gare St-Lazare had Monet looking at smoke and steam and the way that they affected colour and visibility, being sometimes opaque and sometimes translucent. He was to further use this study in the painting of the effects of mist and rain on the landscape. The study of the effects of atmosphere were to evolve into a number of series of paintings in which Monet repeatedly painted the same subject in different lights, at different hours of the day, and through the changes of weather and season. This process began in the 1880s and continued until the end of his life in 1926.
His first series exhibited as such was of Haystacks, painted from different points of view and at different times of the day. Fifteen of the paintings were exhibited at the Galerie Durand-Ruel in 1891. In 1892 he produced what is probably his best-known series, Twenty-six views of Rouen Cathedral. In these paintings Monet broke with painterly traditions by cropping the subject so that only a portion of the facade is seen on the canvas. The paintings do not focus on the grand Medieval building, but on the play of light and shade across its surface, transforming the solid masonry.
Other series include Peupliers, Matins sur la Seine, and the Nenuphars that were painted on his property at Giverny. Between 1883 and 1908, Monet traveled to the Mediterranean, where he painted landmarks, landscapes, and seascapes, including a series of paintings in Antibes (above) and Venice. In London he painted four series: the Houses of Parliament, London ; Charing Cross Bridge ; Waterloo Bridge, and Views of Westminster Bridge. Helen Gardner writes: "Monet, with a scientific precision, has given us an unparalleled and unexcelled record of the passing of time as seen in the movement of light over identical forms."
___________________________________________

2021 - Wandering Vertexes...
by Francis Rousseau

LES PETITES DALLES PEINTES PAR CLAUDE MONET

 

CLAUDE MONET (1840-1926)
Les Petites Dalles (30 à 50m)
France

In " Falaises près de Dieppe," Huile sur toile, 1896, collection privée 

Claude Monet et Les Petites Dalles
Claude Monet vint une première fois aux Petites-Dalles pour une quinzaine de jours en septembre 1880. Il y retourna ensuite régulièrement pendant sept ans, de 1881 à 1886. Il descendit chez son frère Léon qui habitait une des villas Saint-Jean. Léon (Léon Pascal Monet domicilié à Rouen) achèta cette villa, où plutôt le terrain, le 9 août 1875. Au moins 10 tableaux (huile sur toile) ont été peints aux Petites-Dalles par Claude Monet : 2 en 1880, 4 en 1881 et 4 en 1884. Tous sauf un daté de 1884 représentent les falaises.

La falaise
Les Petites Dalles (30 à 50m) sont des falaises situées dans un hameau entre Sassetot-le-Mauconduit et Saint-Martin-aux-Buneaux, en Haute-Normandie, France. Station balnéaire au sud de Dieppe en Normandie, sur la côte de la Manche et du pays de Caux, les falaises des Petites Dalles sont célèbres principalement parce qu'elles ont inspiré les peintres impressionnistes comme Claude Monet et Berthe Morisot. Elles sont également célèbres pour leurs nombreuses villas balnéaires construites à la fin du XIXème siècle et préservées (Les Catelets, Les Lampottes, Les Mouettes...)
L'ancien nom des Petites Dalles apparaît sous la forme latinisée Daletis dans une charte de 1252. C'est le diminutif de Dalis qui apparaît dans la même charte. Dalis devient Les Grandes-Dalles et Daletis, Les Petites Dalles.
Le lieu devient définitivement à la mode en 1875 lorsque l'Impératrice d'Autriche, Elisabeth, dite Sissi, passa les mois d'août et de septembre au château de Sassetot-le-Mauconduit et se baigna régulièrement sur la plage des Petites Dalles. Le peintre Paul Valantin réalisa un tableau de la scène. Le 25 août 2016, un glissement de terrain sur une centaine de mètres de falaise s'est abattu. Près de 50 000 m3 de rochers se sont effondrés sur la plage de Saint-Martin-aux-Buneaux au lieu-dit Les Petites Dalles, selon le Service d'incendie et de secours de Seine-Maritime.

  Le peintre
Oscar-Claude Monet, plus connu sous le nom de Claude Monet, était l'un des fondateurs de la peinture impressionniste française et  de la peinture de paysage en plein air. Le terme « impressionnisme » est dérivé du titre de son tableau « Impression, soleil levant », qui fut exposé en 1874 dans la première des expositions indépendantes montées par Monet et ses associés en alternative au Salon de Paris.
L'ambition de Monet de documenter la campagne française l'a amené à adopter une méthode consistant à peindre plusieurs fois la même scène afin de capturer le changement de lumière et le passage des saisons exactement comme l'artiste japonais Hokusai (1760-1849) l'a fait avec ses 36 vues. du mont Fuji.
Monet a été volontiers qualifié  de  "moteur de l'impressionnisme". La compréhension des effets de la lumière sur la couleur des objets et des effets de la juxtaposition des couleurs entre elles était cruciale pour l'art des peintres impressionnistes. La longue carrière de peintre de Monet s'est déroulée dans la poursuite de cet objectif...

VOIR AUSSI LE PODCAST  

LES TABLEAUX QUI PARLENT

N° 2 - Le Mont Kolsass, une aventure norvégienne de Monet

 

_________________________________________

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

LA FALAISE DE POURVILLE PEINTE PAR CLAUDE MONET

 CLAUDE MONET (1840-1926)
Falaise de Pourville (80 à 100m)
France

In "Ombres sur la mer..Les Falaises de Pourville", 1882, Huile sur toile, 57 x 80 cm

Les Falaises
Voici un motif peint à de nombreuses reprises par Claude Monet sous tous les angles possibles, et  des centaines de fois par les peintres impressionnistes après lui.

Le peintre
Oscar-Claude Monet, plus connu sous le nom de Claude Monet, était l'un des fondateurs de la peinture impressionniste française et  de la peinture de paysage en plein air. Le terme « impressionnisme » est dérivé du titre de son tableau « Impression, soleil levant », qui fut exposé en 1874 dans la première des expositions indépendantes montées par Monet et ses associés en alternative au Salon de Paris.
L'ambition de Monet de documenter la campagne française l'a amené à adopter une méthode consistant à peindre plusieurs fois la même scène afin de capturer le changement de lumière et le passage des saisons exactement comme l'artiste japonais Hokusai (1760-1849) l'a fait avec ses 36 vues. du mont Fuji.
Monet a été volontiers qualifié  de  "moteur de l'impressionnisme". La compréhension des effets de la lumière sur la couleur des objets et des effets de la juxtaposition des couleurs entre elles était cruciale pour l'art des peintres impressionnistes. La longue carrière de peintre de Monet s'est déroulée dans la poursuite de cet objectif...

VOIR AUSSI LE PODCAST  

LES TABLEAUX QUI PARLENT

N° 2 - Le Mont Kolsass, une aventure norvégienne de Monet

 

 

_________________________________________

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

MOUNT KOLSASS PAINTED BY CLAUDE MONET

 

CLAUDE MONET (1840-1926)
Kolsås or Kolsass mountain (342 m - 1,122 ft)
Norway

In "Le village de Sandviken, près du Mount Kolsaas" Norvège, 1895, Huile sur toile 73,4 x92, 5 cm - Art Institute Chicago

Monet and Mount Kolsass
A text in french from the book Claude Monet, une vie dans le paysage by Marianne Alphant - Editions Hazan, 1993. (You may use the Google translation tool in this blog to tranlaste into your own langage)
« Au cours l'hiver 1895 le peintre français fit un séjour en Norvège. et peignit a plusieurs reprises à différentes heures du jour et dans différentes conditions climatiques une montagne, le mont Kolsaas. Mais sitôt réalisées leur auteur n'en fut guère satisfait et elles furent vite éclipsées par l'exposition des Cathédrales. Des vingt-sept ou vingt-huit qui furent recensées, le musée Rodin n'en propose qu'une douzaine, issues de collections publiques (Orsay, Marmottan) aussi bien que privées (Japon, Etats-Unis) et déjà présentées à Stavanger, en Norvège.
Monet effectua ce long voyage vers le Nord sur l'invitation de son beau-fils Jacques Hoschedé, pour saisir quelques effets de neige qu'il escomptait bien capter facilement là-bas. En quoi il se trompait généreusement, erreur à l'origine d'un de ses plus intéressants ratages.
Les quatre «portraits» du mont Kolsaas sont assez intrigants en ce que l’on y perçoit tout l'art du peintre pour «rendre» l'impalpable bien que cela l'entraînent vers des contrées inexplorées. « Le motif se met à flotter dans une atmosphère qui ne le porte plus, ne le soutient plus, l'abandonnant au gré d'une humeur vagabonde, à la manière d'un nuage libre de dériver au gré des vents. L'impression d'échec provient alors d'une incapacité à arrimer la figure, à saisir l'objet à bras le corps, à se tenir d'aplomb face à ce qui le surplombe. Mais la valeur inestimable de cet apparent échec excède largement cet effet de brouillon. (…)
Les peintures ne doivent pas leur sentiment d'incomplétude à une quelconque précipitation mais bien plutôt au désir de se fondre dans un immense éloge à la blancheur. (…)
Le mont Kolsaas ressemble de la sorte au dernier souffle ou à l'éternuement d'un linceul qui, l'instant suivant, s'affaissera dans l'indéterminé d'une forme sans contour. Autrement dit, l'informe. Ces quelques peintures représentent sans doute l'une des rares tentatives de distinguer la neige de la blancheur, de séparer les deux corps comme on le ferait dans une expérience chimique de dissociation. Car la neige n'est pas blanche, pas plus que le blanc n'est la couleur de la neige. L'un et l'autre entrent doucement en conflit pour que, dans l'intervalle, à la faveur d'une anecdote ­ petit pont ou rivière ­, se glisse l'élément qui permettra de rassurer la vision. Entre la neige et la blancheur, il y a un mariage fatal qu'il faut à tout prix éviter faute de s'y endormir. Entre le ciel et le bleu, c'est pareil mais c'est une autre histoire. Les deux histoires se rejouent chaque fois qu'un peintre essaie de fixer leur frontière, leur bord extrême. Comment cette peinture pourrait-elle alors s'achever ?."

The mountain
Kolsås or Kolsass Mountain (342 m - 1,122 ft) is a wooded mountain ridge in the municipality of Bærum, Norway. Geologically, Kolsås belongs to the Oslo Graben area. Its two peaks (one at 387m the other at 342m) consist of hard rhomb porphyric lava covering softer rocks, forming steep cliffs to the east, south and west. An old farm beneath the mountain has the name Kolsberg. The first element in this name is the genitive case of the old male name Kolr, and the last element is "berg" (mountain). The parish and municipality of Bærum (Old Norse Bergheimr) is probably named after this prominent mountain. The last element in the name of the mountain was later changed to ås (mountain ridge) to distinguish it from the name of the farm.
The French painter Claude Monet painted Mont Kolsaas in 1895 in a series of 4 paintings  one is permanently shown at the Musée d’Orsay , an other in Musée Marmottan. in Paris The 2 others shows on this blog are held in private collections in USA and Japan.

The painter
The painter Oscar-Claude Monet better known as Claude Monet was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape painting. The term "Impressionism" is derived from the title of his painting « Impression, soleil levant » (Impression, Sunrise), which was exhibited in 1874 in the first of the independent exhibitions mounted by Monet and his associates as an alternative to the Salon de Paris.
Monet's ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons exactly like the japanese artist Hokusai (1760-1849) did with his 36 views of Mount Fuji.
  Monet repeated this kinf of "exercise de stylee with his series on Les Petites Dalles.

 
___________________________________________

2021 - Wandering Vertexes...
by Francis Rousseau

LES FALAISES DE DIEPPE VUES PAR CLAUDE MONET

 

 

CLAUDE MONET (1840-1926)
Les Falaise de Dieppe (nd)
France

In La Falaise de Dieppe, huile sur toile, 1882,Kunsthaus, Zurich

Le peintre
Oscar-Claude Monet, plus connu sous le nom de Claude Monet, était l'un des fondateurs de la peinture impressionniste française et de la peinture de paysage en plein air. Le terme « impressionnisme » est dérivé du titre de son tableau « Impression, soleil levant », qui fut exposé en 1874 dans la première des expositions indépendantes montées par Monet et ses associés en alternative au Salon de Paris.
L'ambition de Monet de documenter la campagne française l'a amené à adopter une méthode consistant à peindre plusieurs fois la même scène afin de capturer le changement de lumière et le passage des saisons exactement comme l'artiste japonais Hokusai (1760-1849) l'a fait avec ses 36 vues. du mont Fuji.
Monet a été volontiers qualifié de "moteur de l'impressionnisme". La compréhension des effets de la lumière sur la couleur des objets et des effets de la juxtaposition des couleurs entre elles était cruciale pour l'art des peintres impressionnistes. La longue carrière de peintre de Monet s'est déroulée dans la poursuite de cet objectif...
______________________________________

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

 

GORE MOUNTAIN & LAKE GEORGE PEINTES PAR GEORGIA O' KEEFFE

GEORGIA O' KEEFFE (1887–1986)
Gore Mountain (1,086 m- 3,553 ft)
United States of America (New-York State)

In  Lake George by Early Moonrise, 1930, oil and gouache on canvas, Adirondacks.

 
La montagne
Gore Mountain (1,086 m - 3,553 ft) est une montagne de la chaine des Adirondacks, située près du village de North Creek dans le comté de Warren, New York, dont son sommet est le point culminant. Gore est flanqué au nord par South Mountain et au sud-ouest par Height of Land Mountain. La montagne est connue pour la station de ski  très populaire qui porte son nom  Gore. Elle est aussiun site d'observation des incendies construit dès 1918.  Gore Mountain tire son nom du mot "gore", une étendue de terre, généralement triangulaire, résultant de manière caractéristique de lignes d'arpentage qui ne se ferment pas. La montagne n'a pas été étudiée au début de la colonisation de la région des Adirondacks, car elle était considérée comme sans valeur pour les premiers agriculteurs et bûcherons. Elle était considérée comme trop haute et  trop escarpée pour l'agriculture ou l'exploitation forestière tirée par des chevaux. Elle est resté un "gore" et le nom est resté comme Gore Mountain.
Gore Mountain se trouve dans le bassin versant de la rivière Hudson qui se déverse dans le port de New York. L'extrémité sud de Gore Mountain se déverse dans la Black Mountain River, puis dans la Chatiemac River, la North  River et  nfin l' Hudson River.  Le grenat industriel est extrait de la mine de grenat Barton depuis 1878, lorsque Henry Hudson Barton a commencé à l'extraire pour l'utiliser comme abrasif pour papier de verre  La roche qui contient ces grenats, appelée unité Gore Mountain Garnet, est une amphibolite grenat.

La peintre
Georgia O'Keeffe est l'une des artistes les plus importantes et les plus intrigantes du XXe siècle, connue internationalement pour son art audacieusement innovant. Ses fleurs , ses paysages urbains spectaculaires, ses paysages lumineux et ses images d'os contre le ciel désertique sont des contributions emblématiques et originales au modernisme américain.
Née le 15 novembre 1887, deuxième de sept enfants, Georgia Totto O'Keeffe a grandi dans une ferme près de Sun Prairie, dans le Wisconsin. Elle étudie à l'Art Institute of Chicago en 1905-1906 et à l'Art Students League de New York en 1907-1908. Sous la direction de William Merritt Chase, F. Luis Mora et Kenyon Cox, elle apprend les techniques de la peinture réaliste traditionnelle. La direction de sa pratique artistique changea radicalement en 1912 lorsqu'elle étudia les idées révolutionnaires d'Arthur Wesley Dow. L'accent mis par Dow sur la composition et le design offrait à O'Keeffe une alternative au réalisme. Elle a expérimenté pendant deux ans, alors qu'elle enseignait l'art en Caroline du Sud et dans l'ouest du Texas. Cherchant à trouver un langage visuel personnel à travers lequel elle pourrait exprimer ses sentiments et ses idées, elle entame en 1915 une série de dessins abstraits au fusain qui représente une rupture radicale avec la tradition et fait d'O'Keeffe l'un des tout premiers artistes américains à pratiquer l'abstraction pure. .
O'Keeffe a envoyé certains de ces dessins très abstraits à un ami à New York, qui les a montrés à Alfred Stieglitz. Marchand d'art et photographe de renommée internationale, il fut le premier à exposer son travail en 1916. Il deviendra finalement le mari d'O'Keeffe.
À l'été 1929, O'Keeffe a effectué le premier de nombreux voyages dans le nord du Nouveau-Mexique. Le paysage austère, l'art indigène distinct et le style régional unique de l'architecture en adobe ont inspiré une nouvelle direction dans son œuvre. Pendant les deux décennies suivantes, elle a passé une partie de la plupart des années à vivre et à travailler au Nouveau-Mexique. Elle a fait de l'État sa résidence permanente en 1949, trois ans après la mort de Stieglitz. Les peintures du Nouveau-Mexique d'O'Keeffe ont coïncidé avec un intérêt croissant pour les scènes régionales manifesté par les modernistes américains à la recherche d'une vision distinctive de l'Amérique. Dans les années 1950, O'Keeffe a commencé à voyager à l'étranger. Elle a créé des peintures évoquant les lieux s qu'elle a visités, notamment les sommets montagneux du Pérou et le mont Fuji au Japon. À soixante-treize ans, elle se lance dans une nouvelle série centrée sur les nuages dans le ciel et les rivières en contrebas.
Souffrant de dégénérescence maculaire et découragée par sa vue défaillante, O'Keeffe a peint sa dernière peinture à l'huile sans aide en 1972. Mais la volonté d'O'Keeffe de créer n'a pas diminué avec sa vue. En 1977, à quatre-vingt-dix ans, elle observe : « Je peux voir ce que je veux peindre. La chose qui donne envie de créer est toujours là."
Tard dans la vie, et presque aveugle, elle a fait appel à plusieurs assistants pour lui permettre de créer à nouveau. Georgia O'Keeffe est décédée à Santa Fe, le 6 mars 1986, à l'âge de 98 ans.
______________________________

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

AEOLIS MONS OR MOUNT SHARP BY NASA CURIOSITY MISSION

 

NASA CURIOSITY MISSION (since 2012)
Aeolis Mons or Mount Sharp (5, 500 m - 18, 000 ft)
Mars

From "At the base of Aeolis Mons on Mars ", photo, 23 August 2012

The mountain
Aeolis Mons (5, 500 m - 18, 000 ft) also called Mount Sharp is a mountain on the surface of the planet Mars. It forms the central peak within Gale crater and is located around 5.08°S 137.85°E, rising 5.5 km (18,000 ft) high from the valley floor. Aeolis Mons is about the same height as Mons Huygens, the tallest lunar mountain, and taller than Mons Hadley visited by Apollo 15. The tallest mountain known in the Solar System is in Rheasilvia crater on the asteroid Vesta, which contains a central mound that rises 22 km or 22.000 m - 14 mi or 72,000 ft high.
Olympus Mons on Mars is nearly the same height, at 21.9 km (13.6 mi; 72,000 ft) high.
In comparison, Mount Everest / Chomolunga rises to 8.8 km -29,000 ft altitude above sea level, but is only 4.6 km - 15,000 ft base-to-peak. Africa's Mount Kilimanjaro is about 5.9 km - 19,000 ft altitude above sea level also 4.6 km base-to-peak. America's Denali, also known as Mount McKinley, has a base-to-peak of 5.5 km -18,000 ft. The Franco-Italian Mont Blanc/Monte Bianco is 4.8 km -16,000 ft in altitude above sea level. Mount Fuji, which overlooks Tokyo, Japan, is about 3.8 km -12,000 ft altitude. Compared to the Andes, Aeolis Mons would rank outside the hundred tallest peaks, being roughly the same height as Argentina's Cerro Pajonal; the peak is higher than any above sea level in Oceania, but base-to peak it is considerably shorter than Hawaii's Mauna Kea and its neighbors.
Discovered in the 1970s by NAS, the mountain remained nameless for perhaps 40 years. When it became a likely landing site, it was given various labels; for example, in 2010 a NASA photo caption called it "Gale crater mound". In March 2012, NASA unofficially named it "Mount Sharp", for American geologist Robert P. Sharp. The International Astronomical Union, which is responsible for planetary nomenclature for its participants, names large Martian mountains after the Classical albedo feature in which it is located, not for people. In May 2012 the IAU thus named the mountain Aeolis Mons, and gave the name Aeolis Palus to the crater floor plain between the northern wall of Gale and the northern foothills of the mountain. Despite the official name, NASA and the ESA continue to refer to the mountain as "Mount Sharp" in press conferences and press releases
Aeolis is the ancient name of the Izmir region in western Turkey.

The NASA mission
On August 6, 2012, Curiosity (the Mars Science Laboratory rover) landed in "Yellowknife" Quad of Aeolis Palus, next to the mountain. NASA named the landing site Bradbury Landing on August 22, 2012. Aeolis Mons is a primary goal for scientific study.
On June 5, 2013, NASA announced that Curiosity would begin a 8 km (5.0 mi) journey from the Glenelg area to the base of Aeolis Mons.
On November 13, 2013, NASA announced that an entryway Curiosity would traverse on its way to Aeolis Mons was to be named "Murray Buttes", in honor of planetary scientist Bruce C. Murray (1931–2013). The trip was expected to take about a year and would include stops along the way to study the local terrain.
On September 11, 2014, NASA announced that the Curiosity rover had reached Aeolis Mons, the rover mission's long-term prime destination.
On October 5, 2015, possible recurrent slope lineae, wet brine flows, were reported on Mount Sharp near Curiosity.
As of January 20, 2017, Curiosity has been on the planet Mars for 1585 sols (1628 days) since landing on August 6, 2012. 

___________________________________________
2022 - Wandering Vertexes...
by Francis Rousseau

AEOLIS MONS BY NASA CURIOSITY MISSION

NASA CURIOSITY MISSION (since 2012)

Aeolis Mons or Mount Sharp (5, 500 m - 18, 000 ft)

Mars  

3 pictures of Aeolis Mons taken by NASA Curiosity Rover & Curiosity team : 

1. Aeolis Mons photographed by  Curiosity Rover on September 9, 2012

2. Aeolis Mons photographed by Curiosity Rover on September 20, 2012

3.  Aeolis Mons photographed  by Curiosity Rover on August 6, 2012

(Click images to enlarge)  

The mountain

Aeolis Mons (5, 500 m - 18, 000 ft) also called Mount Sharp is a mountain on the surface of the planet Mars. It forms the central peak within Gale crater and is located around 5.08°S 137.85°E, rising 5.5 km (18,000 ft) high from the valley floor. Aeolis Mons is about the same height as Mons Huygens, the tallest lunar mountain, and taller than Mons Hadley visited by Apollo 15. The tallest mountain known in the Solar System is in Rheasilvia crater on the asteroid Vesta, which contains a central mound that rises 22 km  or 22.000 m - 14 mi or 72,000 ft high.
Olympus Mons on Mars is nearly the same height, at 21.9 km (13.6 mi; 72,000 ft) high.
In comparison, Mount Everest / Chomolunga rises to 8.8 km -29,000 ft altitude above sea level, but is only 4.6 km - 15,000 ft  base-to-peak. Africa's Mount Kilimanjaro is about 5.9 km - 19,000 ft altitude above sea level  also 4.6 km base-to-peak. America's Denali, also known as Mount McKinley, has a base-to-peak of 5.5 km -18,000 ft.  The Franco-Italian Mont Blanc/Monte Bianco is 4.8 km -16,000 ft in altitude above sea level.  Mount Fuji, which overlooks Tokyo, Japan, is about 3.8 km -12,000 ft altitude. Compared to the Andes, Aeolis Mons would rank outside the hundred tallest peaks, being roughly the same height as Argentina's Cerro Pajonal; the peak is higher than any above sea level in Oceania, but base-to peak it is considerably shorter than Hawaii's Mauna Kea and its neighbors.
Discovered in the 1970s by NAS,  the mountain remained nameless for perhaps 40 years. When it became a likely landing site, it was given various labels; for example, in 2010 a NASA photo caption called it "Gale crater mound".  In March 2012, NASA unofficially named it "Mount Sharp", for American geologist Robert P. Sharp. The International Astronomical Union, which is responsible for planetary nomenclature for its participants, names large Martian mountains after the Classical albedo feature in which it is located, not for people. In May 2012 the IAU thus named the mountain Aeolis Mons, and gave the name Aeolis Palus to the crater floor plain between the northern wall of Gale and the northern foothills of the mountain. Despite the official name, NASA and the ESA continue to refer to the mountain as "Mount Sharp" in press conferences and press releases
Aeolis is the ancient name of the Izmir region in western Turkey.

The NASA mission 
On August 6, 2012, Curiosity (the Mars Science Laboratory rover) landed in "Yellowknife" Quad of Aeolis Palus, next to the mountain. NASA named the landing site Bradbury Landing on August 22, 2012. Aeolis Mons is a primary goal for scientific study.
 On June 5, 2013, NASA announced that Curiosity would begin a 8 km (5.0 mi) journey from the Glenelg area to the base of Aeolis Mons.
On November 13, 2013, NASA announced that an entryway Curiosity would traverse on its way to Aeolis Mons was to be named "Murray Buttes", in honor of planetary scientist Bruce C. Murray (1931–2013). The trip was expected to take about a year and would include stops along the way to study the local terrain.
On September 11, 2014, NASA announced that the Curiosity rover had reached Aeolis Mons, the rover mission's long-term prime destination.
On October 5, 2015, possible recurrent slope lineae, wet brine flows, were reported on Mount Sharp near Curiosity.

As of January 20, 2017, Curiosity has been on the planet Mars for 1585 sols (1628 days) since landing on August 6, 2012. 

Sources: 

- NASA Curiosity Mission page 

- Wikipedia

TARANAKI / MOUNT EGMONT( 2) BY CHARLES BLOMFIELD

 

CHARLES BLOMFIELD (1848-1926)

Taranaki /Mount Egmont (2,518 m - 8,261 ft)

New Zealand (North Island)

In Mont Egmont, 1880, oil on canvas, Museum of New Zealand  /Te Papa Tongarewa

The mountain
Taranaki or Mount Egmont (2,518 m - 8,261 ft) is an active but quiescent stratovolcano in the Taranaki region on the west coast of New Zealand's North Island. Although the mountain is more commonly referred to as Taranaki, it has two official names under the alternative names policy of the New Zealand Geographic Board. The mountain is one of the most symmetrical volcanic cones in the world. There is a secondary cone, Fanthams Peak or Panitahi in Māori (1,966 me - 6,450 ft), on the south side. Because of its resemblance to Mount Fuji, Taranaki provided the backdrop for the movie The Last Samurai.
More about the mountain

The painter
Charles Blomfield was a New Zealand decorator, artist and music teacher born in London, England.
A widow, Blomfield's mother brought her family to New Zealand in the 1860's intending to settle in Northland as part of a settlement called Albertland. On arrival in Auckland they decided not to proceed on Northland to become farmers but to pursue urban trades in Auckland. The family remained in Auckland after that and many of the descendants of the various children still reside in the Auckland area.
More about the painter 

_________________________________________

2020 - Wandering Vertexes...
by Francis Rousseau