THE ORTLER BY EDWARD T. COMPTON

EDWARD T. COMPTON (1849-1921)

Ortler (3,905 m -12,812 ft)

Italy (South Tyrol) 

In The Ortler South Tyrol, watercolour on paper,  26 x 37cm, John Mitchell Gallery 

The mountain 
The Ortler (3,905 m -12,812 ft) is the highest mountain in the Eastern Alps outside the Bernina Range. It is the main peak of the Ortler Range. It is the highest point of the Southern Limestone Alps, of the Italian province of South Tyrol, of Tyrol overall, and, until 1919, of the Austrian-Hungarian empire. In German the mountain is commonly referred to as "König Ortler" (King Ortler), like in the unofficial hymn of South Tyrol, the Bozner Bergsteigerlied.
The Ortler Alps were one of the main battlegrounds between Austrian and Italian troops in the First World War, being on the border of Italy and the Austrian Empire. The advantage of owning the highest point was very important. The Austrian troops had quickly occupied the highest peaks, and the Italian troops' main goal, for four years, was to dislodge them from the positions. In the mid-1990s, a mountain guide discovered two guns that had been stationed very near the top of the Ortler but had been hidden by snow ever since. The discovery was kept secret until the 200th anniversary of the first ascent in 2004. The cannons are now on display in a museum in Trafoi.

The painter 
Edward Theodore Compton, usually referred to as E. T. Compton, (1849 – 1921) was an English-born, German artist, illustrator and mountain climber, not to be confused with his son Edward Harrison Compton, also a mountain painter. He is well known for his paintings and drawings of alpine scenery, and as a mountaineer made 300 major ascents including no fewer than 27 first ascents.
Initially painting in the English romantic tradition, Compton later developed a more realistic representation of nature, being guided by his true artistic ideas while retaining topographical accuracy. Even his early watercolors show the great importance of brightness and light and his work is also remarkable for its portrayal of the elements such as water and air, including ascending mist and fog. He can be regarded as an impressionist.
He attended various art schools, including, for a time, the Royal Academy in London, but otherwise he was mainly self-taught in art.

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2019 - Wandering Vertexes...
by Francis Rousseau 

CERRO RORAIMA BY CHARLES BENTLEY

CHARLES BENTLEY (1805-1854) 

 Cerro Roraima (2,810 m - 9,220 ft)

Brazil, Venezuela, Guyana border 

In Roraima (on right)  from  Views in the Interior of Guiana, Tepuy Roraima, lithograph, 1870,  British Library 

The mountain 
 Cerro Roraima (2,810m- 9,220ft) or  Tepuy Roraima  is the highest of the Pakaraima chain of Tepui plateaus in South America. First described by the English explorer Sir Walter Raleigh during his 1595 expedition, its 31-square-kilometre (12-square-mile) summit area is bounded on all sides by cliffs rising 400 metres (1,300 ft). The mountain also serves as the tripoint of Venezuela, Guyana and Brazil. Mount Roraima lies on the Guiana Shield in the southeastern corner of Venezuela's 30,000-square-kilometre (12,000-square-mile) Canaima National Park forming the highest peak of Guyana's Highland Range.
The highest point in Guyana and the highest point of the Brazilian state of Roraima lie on the plateau, but Venezuela and Brazil have higher mountains elsewhere. The triple border point is at 5°12′08″N 60°44′07″W,[6] but the mountain's highest point is Maverick Rock or Maverick Stone, at the southern end of the plateau and wholly within Venezuela.

The artist
Charles Bentley was an English watercolour painter of coastal and river scenery. Bentley was born in 1805 or 1806, the son of a master-carpenter and builder living in Tottenham Court Road, London. He was sent to work colouring prints for Theodore Fielding to whom he was eventually apprenticed in order to learn aquatinting. During his apprenticeship he was sent to Paris, probably to assist work on the plates for Excursion sur les Cotes et dans les Ports de Normandie' (Paris, 1823-5), most of which were after watercolours by Richard Bonington.
Bentley painted scenes all over Britain, in Jersey, the north of Ireland, and in Normandy, which he visited several times with Callow between 1836 and 1841. He also exhibited views of Venice, Holland and Düsseldorf, but it is not certain that he actually went to these places, as he is known to have painted works after sketches by other people, such as his paintings of Trebizond and Abydos, shown in 1841 and 1849, based on drawings by Coke Smyth. He also worked up the illustrations for 12 Views in the Interior of Guiana (above) , published by Rudolf Ackermann in 1841, from studies done on an expedition to South America by John Morison.
Bentley was not financially successful: Samuel Redgrave described him as "uncertain in his transactions, and always poor". He died of cholera on 4 September 1854, leaving a widow.
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2018 - Wandering Vertexes...
by Francis Rousseau 

MOUNT KATAHDIN (3) PAINTED BY FREDERIC EDWIN CHURCH

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

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

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

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

The painter

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

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

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

 
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2021 - Wandering Vertexes...
by Francis Rousseau