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Showing posts sorted by date for query White Mountains. Sort by relevance Show all posts

Saturday, May 27, 2023

PICO TURQUINO PEINT PAR EDMUND DARCH LEWIS

 
EDMUND DARCH LEWIS (1835-1910)  Pico Turquino  (1,974m- 6,476 ft)  Cuba   In  "Pico Turquino in the Sierra Maestra" ,  View of Cuba, oil on canvas, 1850.

EDMUND DARCH LEWIS (1835-1910) 
Pico Turquino  (1,974m- 6,476 ft) 
Cuba 

In  "Pico Turquino in the Sierra Maestra" ,  View of Cuba, oil on canvas, 1850.


La montagne
Pico Turquino (littéralement "Pic Turquoise") est le point culminant de Cuba à 1 974 mètres d'altitude. Situé au centre de la Sierra Maestra, il se trouve dans le parc national de Turquino - également connu sous le nom de parc national de la Sierra Maestra. Son sommet fait l'objet d'une sorte de pèlerinage depuis que le père de la combattante révolutionnaire Celia Sánchez a érigé en 1953 un buste du héros national José Martí.

L'artiste
Edmund Darch Lewis était un peintre paysagiste américain connu pour son style prolifique, ses huiles marines et ses aquarelles. Lewis est né à Philadelphie, en Pennsylvanie, dans une famille aisée. Il a commencé à s'entraîner à 15 ans avec Paul Weber (1823–1916), d'origine allemande, de la Hudson River School.
À 19 ans, il expose à la Pennsylvania Academy of Fine Arts et est élu associé de l'Académie à 24 ans.
Les premiers travaux de Lewis dans le pétrole, en raison de son excellente formation, ont été précoces et sont considérés comme techniquement supérieurs à ses travaux ultérieurs. Il a voyagé à travers la Pennsylvanie, le New Jersey et New York, peignant des scènes de rivière, et pendant deux décennies, il a voyagé dans les White Mountains et a peint des paysages de montagnes, de rivières et de lacs. Il a réalisé de nombreuses peintures marines dans toute la Nouvelle-Angleterre, devenant un artiste prolifique et prospère. Son travail a été apprécié en raison de la luminosité de ses peintures. Il est d'ailleurs considéré comme l'un des peintres luministes majeurs de la Hudson River School.
Après avoir utilisé la peinture à l'huile au début de sa carrière, Lewis est passé à l'aquarelle. Bien qu'elles ne soient pas aussi exceptionnelles sur le plan technique, ses aquarelles sont aussi  également admirées pour leur luminosité (le luminisme encore et toujours),

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

Tuesday, April 11, 2023

MONT CHOCORUA PAR JOHN MARIN

 

JOHN MARIN (1870-1953) Mont Chocorua (1 061 m - 3 480 ft) États-Unis d'Amérique (New Hampshire)  In Mount Chocorua, série White Mountains, aquarelle, 1927. Harvard University Museums

JOHN MARIN (1870-1953)
Mont Chocorua (1 061 m - 3 480 ft)
États-Unis d'Amérique (New Hampshire)

In Mount Chocorua, série White Mountains, aquarelle, 1927. Harvard University Museums

 

La montagne
Le mont Chocorua (1 061 m - 3 480 pieds) est un sommet des White Mountains dansle  New Hampshire, le sommet, le plus à l'est de la chaîne Sandwich. Bien que la chaîne ne soit pas exceptionnelle pa son élévation, elle est très accidentée et offre d'excellentes vues sur les lacs, les montagnes et les forêts environnantes. Le sommet dénudé du mont Chocorua peut être vu de presque toutes les directions et peut être identifié à partir de nombreux points du centre du New Hampshire et de l'ouest du Maine.
On pense que Chocorua était le nom d'un homme amérindien au 18ème siècle, bien qu'il n'existe aucun document authentique de sa vie.
Le mont Chocorua est une destination populaire pour les randonneurs. Il y a de nombreux sentiers en haut de la montagne, et ils peuvent être assez encombrés pendant les mois d'été. Le Piper Trail (6,8 km dans chaque sens depuis l'est), le Champney Falls Trail (du nord) et le Liberty Trail (du sud-ouest) sont particulièrement populaires.


Le peintre
John Marin est  un peintre  américain fondateur du mouvement moderniste. Il a été l'un des premiers Américains à utiliser des techniques d'abstraction dans ses représentations calligraphiques de paysages et de rues de la ville. Avec Arthur Dove, Marsden Hartley et Georgia O'Keeffe, Marin a contribué à introduire un nouveau modèle esthétique  "Je dois pour ma part insister sur le fait qu'une fois terminé, c'est-à-dire lorsque toutes les pièces sont en place et fonctionnent, le tableau est devenu un objet et aura donc ses limites aussi définies que la proue, la poupe, les côtés et le fond lié comme dans un bateau », déclarait il.
Marin a commencé sa carrière artistique assez tard dans la vie et fut  diplômé de la Pennsylvania Academy of Fine Arts en 1901 à l'âge de 30 ans. En 1905, il voyagea en Europe, vécut à Paris (1905-1909) où il  développéasa technique d'aquarelle et rencontre l'artiste Edward Steichen. C'est Steichen qui présenta son travail au photographe Alfred Stieglitz, qui  monta la première exposition personnelle de Marin en 1909 et soutint financièrement l'artiste pendant le reste de sa carrière.
Aujourd'hui, ses œuvres font partie des collections du Museum of Modern Art de New York, de la Phillips Collection de Washington, D.C. et de l'Art Institute of Chicago, entre autres.
Il a développé un style plus dynamique et fracturé à partir de 1912 pour peindre l'interaction des forces en conflit, et a progressivement développé des manières sommaires de rendre ses impressions vives de la mer, du ciel, des montagnes ou des gratte-ciel de Manhattan. Dans les années 1920  il travailla presque exclusivement à l'aquarelle ; après 1930  il opta pour l'huile sur toile .
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2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau 

Thursday, October 13, 2022

MOUNT ZEIL / URLATHERRKE PAINTED BY ALBERT NAMATJIRA


ALBERT NAMATJIRA (1902-1959) Mount Zeil ot Urlatherrke (1,531 m - 5,023 ft) Australia  In "Glen Helen", watercolor, 1930


ALBERT NAMATJIRA (1902-1959)
Mount Zeil ot Urlatherrke (1,531 m - 5,023 ft)
Australia

In "Glen Helen", watercolor, 1930


The mountain 
Mount Zeil (1,531m - 5,023ft)  Urlatherrke  in aboriginal naming,  is a mountain situated in the western MacDonnell Ranges in Australia's Northern Territory. It is the highest peak in the Northern Territory, and the highest peak on the Australian mainland west of the Great Dividing Range. The others peaks of MacDonell Ranges are:  Mount Liebig (1,524m - 5,000 ft), Mount Edward  (1,423m - 4,669 ft), Mount Giles (1,389m - 4,557 ft) and Mount Sonder (1,380m - 4,530 ft). 
It is believed that Mount Zeil was named during or following Ernest Giles' 1872 expedition, probably after Count Zeil, who had recently distinguished himself with geographic explorations in Spitzbergen; a footnote in Giles' published journal implies that the naming was instigated by his benefactor, Baron Ferdinand von Mueller.
The MacDonnell Ranges, a mountain range and an interim Australian bioregion, is located in the Northern Territory, comprising 3,929,444 hectares (9,709,870 acres). The range is a 644 km (400 mi) long series of mountains located in the centre of Australia, and consist of parallel ridges running to the east and west of Alice Springs. The mountain range contains many spectacular gaps and gorges as well as areas of aboriginal significance. The ranges were named after Sir Richard MacDonnell (the Governor of South Australia at the time) by John McDouall Stuart, whose 1860 expedition reached them in April of that year. The Horn Expedition investigated the ranges as part of the scientific expedition into central Australia. Other explorers of the range included David Lindsay and John Ross.The headwaters of the Todd, Finke and Sandover rivers form in the MacDonnell Ranges. The range is crossed by the Australian Overland Telegraph Line and the Stuart Highway. Part of the Central Ranges xeric scrub ecoregion of dry scrubby grassland  the ranges are home to a large number of endemic species including the Centralian Tree Frog. This is mostly due to the micro climates that are found around the cold rock pools.
The MacDonnell Ranges were often depicted in the paintings of Albert Namatjira.
 
The Painter
Albert Namatjira  born Elea Namatjira, was a Western Arrernte-speaking Aboriginal artist from the MacDonnell Ranges in Central Australia. As a pioneer of contemporary Indigenous Australian art, he was the most famous Indigenous Australian of his generation.
Born and raised at the Hermannsburg Lutheran Mission outside Alice Springs, Namatjira showed interest in art from an early age, but it was not until 1934 (aged 32), under the tutelage of Rex Battarbee, that he began to paint seriously. Namatjira's richly detailed, Western art-influenced watercolours of the outback departed significantly from the abstract designs and symbols of traditional Aboriginal art, and inspired the Hermannsburg School of painting. He became a household name in Australia—indeed, reproductions of his works hung in many homes throughout the nation—and he was publicly regarded as a model Aborigine who had succeeded in mainstream society.
Although not the first Aboriginal artist to work in a European style, Albert Namatjira is certainly the most famous. Ghost gums with luminous white trunks, palm-filled gorges and red mountain ranges turning purple at dusk are the hallmarks of the Hermannsburg school. Hermannsburg Mission was established by Lutheran missionaries in 1877 on the banks of the Finke River, west of Mparntwe (Alice Springs). Namatjira learnt watercolour technique from the artist, Rex Battarbee.
 
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2022- Wandering Vertexes
Un blog de Francis Rousseau

Thursday, September 29, 2022

THE MONT BLANC PAINTED BY CESARE MAGGI

CESARE MAGGI (1881-1962) The Mont Blanc (4,808.73 m -15,777 ft) France - Italy   in "The Mont Blanc seen from italy", oil on canvas, 100 x 140 cm



CESARE MAGGI (1881-1962)
The Mont Blanc (4,808.73 m -15,777 ft)
France - Italy 

in "The Mont Blanc seen from italy", oil on canvas, 100 x 140 cm

 
The painter
The italian painter Cesare Maggi was born into a family of actors, Maggi embarked on classical studies at his father’s wish but also took up painting at a very early age His debut in Florence at the Esposizione Annuale della Società di Belle Arti di Firenze in 1898 was followed by a short trip to Paris to catch up with the latest developments.
The crucial turning point in Maggi’s art came in 1889 with the posthumous show of work by Giovanni Segantini held by the Milanese Society of Fine Arts, which prompted a definitive shift to landscape painting of a Divisionist character. After a short stay in the Engadin, he returned to Milan before finally settling in Turin. Commercial collaboration with Alberto Grubicy until 1913 enabled Maggi to establish himself quickly as one of the leading representatives of the second generation of Divisionist painters in Italy. He painted a repertoire of readily comprehensible mountain landscapes focusing primarily on aspects of the visual perception of the reflection of light and colour but lacking the deep spirituality of Segantini’s work. He took part in the major Italian and European exhibitions and the Venice Biennale devoted an entire room to his work at the Esposizione Internazionale d’Arte of Venice in 1912. After an interlude devoted to portrait painting in the same decade, the artist’s mature work focused on greater simplification of subject matter, mostly in landscapes.
Maggi obtained the chair in painting at the Albertina Academy, Turin, in 1936.


The mountain
The Mont-Blanc (in French) (4 ,808.73 m -15,777 ft) or Monte Bianco (in Italian), both meaning "White Mountain", is the highest mountain in the Alps and the highest in Europe after the Caucasus peaks. It is ranked 11th in the world in topographic prominence. The Mont Blanc is one of the Seven Summit, which includes the highest mountains of each of the seven continents. Summiting all of them is regarded as a mountaineering challenge, first achieved on April 30, 1985 by Richard Bass. The 7 highest summit, (which are obviously 8 with 2 in Europe !) are : Mount Everest (8,848m), Aconcagua (6,961m), Mt Denali or Mc Kinley (6,194m), Kilimandjaro (5,895m), Mt Elbrus (5,642m), Mount Vinson (4,892m) and Mount Kosciuszko (2,228m) in Australia.
The overcrowding threshold of Mont Blanc is reached, with 300 to 400 departures per day in summer.
At the summit of the National Mountain Council held in Sallanches at the end of August 2006, it was estimated that between 25,000 and 30,000 people set out in 2005 to conquer Mont Blanc. With the opening of new markets (Russia, China, India), 50,000 to 100,000 people could tomorrow try the adventure, the figure of 200,000 has even been advanced.
These prospects are nightmarish for the defenders of the site and for some political leaders of the valley, such as the mayor of Saint-Gervais-les-Bains, common on which Mont Blanc is located.

 - More about the Mont-Blanc


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2022 - Wandering Vertexes...
by Francis Rousseau

Wednesday, July 20, 2022

THE GREAT SUGAR LOAF PAINTED BY GEORGE BARRET Sr.

GEORGE BARRET Sr. (1730-1784) The Great Sugar Loaf (501 m-1,644 ft) Ireland  In Powerscourt House, Co. Wicklow with the Great Sugarloaf mountain, 1760, oil on canvas,  73,3 x 97,1 cm, Yale Center for British Art, Paul Mellon collection

GEORGE BARRET Sr. (1730-1784)
The Great Sugar Loaf (501 m-1,644 ft)
Ireland

In Powerscourt House, Co. Wicklow with the Great Sugarloaf mountain, 1760, oil on canvas, 
73,3 x 97,1 cm, Yale Center for British Art, Paul Mellon collection

The mountain
The Great Sugar Loaf  (501 m-1,644 ft),  not to be confused with Sugar Loaf  in Brazil or with Sugar Loaf Mountain in USA neither with  the Pain de Sucre in France...  is the 404th–highest peak in Ireland on the Arderinscale, however, being below 600 m it does not rank on the Vandeleur-Lynam or Hewitt scales].  The mountain is in the far northeastern section of the Wicklow Mountains, in Ireland, and overlooks the village of Kilmacanogue. The profile of the mountain means it can be mistaken for a dormant volcano. It owes its distinctive shape, however, to the erosion-resistant metamorphosed deep-sea sedimentary deposit from which its quartzite composition was derived.
According to Irish academic Paul Tempan, the term "sugarloaf" is widely applied in Britain and Ireland to hills of conical form, in much the same way that the name pain de sucre is used in France. Tempan also notes that there is a widespread misconception that the term refers to a kind of bread, when it refers in fact to the stalagmite-like form in which sugar was sold up until the 19th-century, prior to the advent of granulated sugar. The traditional method for making a sugarloaf was complex, involving repeated purifications, moulding and a leaching process gradually to refine the mass of sugar, by ridding it of its associated molasses and eventually all trace of colour, leaving it a glistening white. This form of sugar is still used in the German alcoholic drink, Feuerzangenbowle. Tempan notes that a 1935 article by Eoin MacNeill in the Journal of the Royal Society of Antiquaries of Ireland (JRSAI), on placenames mentioned in the Togail Bruidne Dá Derga, suggested that Irish: Ó Cualann could refer to "sheep of Cualu", but considered it unlikely.


The Painter
George Barret Sr. RA was an Irish landscape artist best known for his oil paintings, but also sometimes produced watercolours. He left Ireland in 1762 to move to London where he soon gained recognition as a leading artist of the period. He exhibited at the Society of Artists of Great Britain and was able to gain patronage from many leading art collectors. Barrett with other leading members left the Society in 1768 to found the Royal Academy, where he continued to exhibit until 1782. Barrett appears to have travelled extensively in England including the Lake District and the Isle of Wight, Wales, and Scotland to undertake commissions for his patrons. He suffered from asthma and this caused him to move in 1772 to Westbourne Green, at the time a country village to the west of Paddington. While he earned considerable quantities of money from his paintings, he has been described as being ‘'feckless'’ with money. He was helped in 1782 by Edmund Burke, with whom he had become friends when Burke attended Trinity College, Dublin. On Burke's recommendation he obtained the appointment of master painter of Chelsea Hospital, a post he held until his death in 1784. At the time of his death his widow and children were left destitute, but the Royal Academy granted her a pension of thirty pounds a year.
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2022 - Wandering Vertexes...
by Francis Rousseau





Tuesday, July 5, 2022

ALPAMAYO SUMMIT PHOTOGRAPHED IN 1936 BY ERWIN SCHNEIDER


ERWIN SCHNEIDER (1906-1987) Alpamayo ( 5,947m - 19,511 ft) Peru  In  "Alpamayo summit", argentic photo 1936 
 
 
ERWIN SCHNEIDER (1906-1987) 
Alpamayo ( 5,947m - 19,511 ft) 
Peru

In  "Alpamayo summit", argentic photo 1936


The mountain

Alpamayo ( 5,947m - 19,511 ft) possibly named from Quechua words is one of the most conspicuous peaks in the Cordillera Blanca of the Peruvian Andes. Alpamayo Creek originates northwest of it. The Alpamayo lies next to the slightly higher Quitaraju. n July 1966, the German magazine "Alpinismus", published a photo of Alpamayo taken by American photographer Leigh Ortenburger accompanied by an article on a survey among mountaineering experts, who chose Alpamayo as "The Most Beautiful Mountain in the World". Not defined by a single summit Alpamayo has two sharp summits, the North and south, which are separated by a narrow corniced ridge.
The first attempt on Alpamayo's summit was in 1948 by a Swiss expedition. Climbing by way of the heavily corniced North Ridge, the three climbers came within sight of the virgin summit when a large cornice broke under them and they were carried down the precipitous Northwest Face. By some amazing piece of good fortune, the three were neither buried nor injured by the 650 foot fall and they were able to make an 'orderly retreat' from the mountain. In 1951, a Franco-Belgian expedition including George and Claude Kogan claimed to have made the first ascent via the North Ridge. After studying the photos in George Kogan's book The Ascent of Alpamayo, the German team of Günter Hauser, Frieder Knauss, Bernhard Huhn and Horst Wiedmann came to the conclusion that the 1951 team did not reach the actual summit, thereby making their ascent via the South Ridge in 1957 the first. Although the South Ridge is no less steep or dangerous than the North Ridge, it has the advantage of leading directly to the higher south summit. This was written up in Hauser's book White Mountain and Tawny Plain. Although there are several climbing routes on the Southwest Face the most common is known as the Ferrari or Italian Route. It was opened in 1975 by a group of Italian alpinists led by Casimiro Ferrari. It begins at the top of the highest point of the snow slope where the bergshrund separates the upper face on the left and then ascends a steep runnel to the summit ridge. Because of its esthetic beauty, Alpamayo is one of the most climbed mountains in the Andes and the base camp can be a hodge-podge of nationalities. Each year the route is made easy by the first party to ascend the route as they usually leave snow-stakes in place at the belay stations. Then it is just a matter of finding out what length of rope they used so that your rope is long enough to reach each station. In the summer of 1988, they had used 50m ropes.

The photographer
Erwin Hermann Manfred Schneider was an Austrian mountaineer. On July 25, 1928, he was part of the German-Soviet expedition for the first ascent of Lenin Peak. They reach the top with Karl Wien and Eugen Allwein. In 1930, he participated in an expedition in the Himalayas led by Günter Dyhrenfurth to Kangchenjunga. On June 21, 1931, he made the first ascent of Jongsong Peak at 7,462 meters1,2. They climb the Ramthang Chang at 6,802 meters. In 1932 and 1936, he took part in two expeditions organized by the German-Austrian Alpine Club (DuOeAV). During these expeditions, Schneider and his companions made about ten first ascents.

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2022 - Wandering Vertexes...
by Francis Rousseau

Monday, June 27, 2022

PICO TURQUINO (3) PAINTED BY EDMUND DARCH LEWIS

 

EDMUND DARCH LEWIS (1835-1910)  Pico Turquino  (1,974m- 6,476 ft)  Cuba   In Pico Turquino - View of Cuba, oil on canvas, 1850.

EDMUND DARCH LEWIS (1835-1910) 
Pico Turquino  (1,974m- 6,476 ft) 
Cuba 

In Pico Turquino - View of Cuba, oil on canvas, 1850.

The mountain
Pico Turquino (literally "Turquoise Peak") is Cuba's highest point at 1,974 meters above sea level. Located in the center of the Sierra Maestra, it lies within the Turquino National Park - also known as the Sierra Maestra National Park. Its summit has been the subject of a sort of pilgrimage since the father of the revolutionary fighter Celia Sánchez erected in 1953 a bust of the national hero José Martí.

The artist
Edmund Darch Lewis was an American landscape painter known for his prolific style, marine oils and watercolors. Lewis was born in Philadelphia, Pennsylvania, in a well-to-do family. He started training at age 15 with German-born Paul Weber (1823–1916) of the Hudson River School.
At age 19 he exhibited at the Pennsylvania Academy of the Fine Arts, and was elected an Associate of the Academy at age 24.
Lewis's early work in oil, because of his excellent training, was precocious and is considered technically superior to his later work. He traveled throughout Pennsylvania, New Jersey and New York, painting river scenes, and for two decades he traveled to the White Mountains and painted landscapes of mountains, rivers, and lakes. He made extensive marine paintings throughout New England, becoming a prolific and successful artist. His work was appreciated because of the luminosity of their objects. Because of the lively yet glowing work, he is considered one of the Luminist painters in the Hudson River School.
After mastering oil painting early in his career, Lewis switched to watercolor painting. Although not as technically outstanding, his watercolors were also admired for their luminosity - Luminism, and Lewis continued to generate canvases in mass production style.
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2022 - Wandering Vertexes...
by Francis Rousseau

Monday, June 6, 2022

MITREPEAK / RAHOTU SKETCHED BY JOHN BARR CLARK HOYTE


JOHN BARR CLARK HOYTE (1835-1913) Mitre Peak / Rahotu (1,683m - 5,522 ft) New Zealand (South Island)    In Milford sound, series of watercolours Milford Sounbdof, 1870


JOHN BARR CLARK HOYTE (1835-1913)
Mitre Peak / Rahotu (1,683m - 5,522 ft)
New Zealand (South Island)

  In Milford sound, series of watercolours Milford Sounbdof, 1870


The mountain
Mitre Peak/ Rahotu (1,683m - 5,522 ft) is an iconic mountain in the South Island of New Zealand, located on the shore of Milford Sound. It is one of the most photographed peaks in the country. The distinctive shape of the peak in southern New Zealand gives the mountain its name, after the mitre headwear of Christian bishops. It was named by Captain John Lort Stokes of the HMS Acheron.
Part of the reason for its iconic status is its location. Close to the shore of Milford Sound, in the Fiordland National Park in the southwestern South Island, it is a stunning sight. The mountain rises near vertically from the water of Milford Sound, which technically is a fjord.
The peak is actually a closely grouped set of five peaks, with Mitre Peak not even the tallest one, however from most easily accessible viewpoints, Mitre Peak appears as a single point.
Milford Sound is part of Te Wahipounamu, a World Heritage Site as declared by UNESCO.
The only road access to Milford Sound is via State Highway 94, in itself one of the most scenic roads in New Zealand.


The Painter
John Barr Clark Hoyte was born in England, probably in London, the son of Samuel Hoyte, a landowner. His mother's name is not known, nor are any details of his childhood. From 1856 to 1859 he was employed as a planter in Demerara, Guyana, after which he returned to England. On 1860, at Leamington, Warwickshire, he married Rose Esther Elizabeth Parsons, daughter of an iron merchant. Within three months they sailed on the Egmont for Auckland, New Zealand, where they were to live for 16 years. Three daughters were born in Auckland, and the couple may also have had a son. A brother of John Hoyte emigrated to New Zealand, possibly in the 1870s.
Nothing is known of Hoyte's education and artistic training and we are reduced to the obvious deduction that he was heir to the English tradition of topographic draughtsmanship and watercolour painting. Firm drawing underlies his landscapes, making it appropriate to group him with colonial surveyor–architect artists such as Edward Ashworth, Edmund Norman and George O'Brien.
During his years in New Zealand John Hoyte travelled assiduously in search of new scenes to exploit. In January 1866 he exhibited views from Whangarei, Coromandel, Auckland, Waikato, the Wellington region and Nelson, although some of these pictures were not painted from the subject. In the 1870s he travelled each summer, progressively adding the thermal region, Taranaki, Nelson, Christchurch, Arthur's Pass, Banks Peninsula and Otago to his repertoire between 1872 and 1876.
His pictorial exploration of the colony's principal dramatic landscapes was completed when he took a cruise circumnavigating the South Island in early 1877, exploring the coast of Fiordland with particular attention. New Zealand subjects would continue to inspire his production long after he had settled in Australia, where they shared his attention with coastal and mountain views drawn chiefly from the neighbourhood of Sydney.
The success of the art unions of his work shows that the subjects he painted were in harmony with public taste. Despite the exceptional landscapes which appear so frequently in his production – geysers, the Pink and White Terraces, fiords, mountains and lakes – it appears that his preference was for a more gentle, picturesque mode of landscape art rather than the heightened tensions of the sublime. The Otago Guardian in 1876 described 'the aspect of repose which usually characterises Mr Hoyte's illustrations of native landscapes'. A comparison of Fiordland subjects painted by Hoyte and John Gully shows that Hoyte eschewed the manipulation of the viewer's emotions which the latter exploited so regularly. Even in his pastoral subjects Gully could be relied on to introduce an epic element which Hoyte usually avoided. Despite his apparent commercial success, however, Hoyte's standing, like that of George O'Brien, waned in the 1870s: a decade which marked a major shift in New Zealand colonial taste as the Turnerian Romantics such as Gully, J. C. Richmond and W. M. Hodgkins moved into greater prominence. They and their style were to dominate the following decades.
 
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2022 - Wandering Vertexes
Un blog de Francis Rousseau

Saturday, May 28, 2022

MOUNT COLEMAN PAINTED BY ARTHUR P. COLEMAN

ARTHUR P. COLEMAN (1852-1939) Mount Coleman (3,135 m-10,285 ft) Canada (Alberta)
 

ARTHUR P. COLEMAN (1852-1939)
Mount Coleman (3,135 m-10,285 ft)
Canada (Alberta) 

 In  "Mountain un the Canadian rockies"

The mountain
Mount Coleman (3,135 m-10,285 ft) mountain summit located in the upper North Saskatchewan River valley in Banff National Park, in the Canadian Rockies of Alberta, Canada. Its nearest higher peak is Cirrus Mountain, 4.46 km (2.77 mi) to the north.  Mount Coleman is situated along the east side the Icefields Parkway midway between Saskatchewan Crossing and Sunwapta Pass.
Mount Coleman was named in 1898 after Arthur Philemon Coleman (1852-1939), a Canadian geologist and among the first white men to explore the area that is now Jasper National Park.(see below). Like other mountains in Banff Park, Mount Coleman is composed of sedimentary rock laid down from the Precambrian to Jurassic periods. Formed in shallow seas, this sedimentary rock was pushed east and over the top of younger rock during the Laramide orogeny.  Based on the Köppen climate classification, Mount Coleman is located in a subarctic climate with cold, snowy winters, and mild summers.  Temperatures can drop below -20 °C with wind chill factors below -30 °C. Precipitation runoff from Mount Coleman drains into tributaries of the North Saskatchewan River.

The painter
Arthur Philemon Coleman was a Canadian a geologist, professor, minerals prospector, artist, Rockies explorer, backwoods canoeist, world traveller, scientist, popular lecturer, museum administrator, memoirist and... one of Canada’s most beloved scientist.
Arthur Coleman is a fine example of that rare bird, a polished amateur artist whose drawings and paintings stand comfortably beside those of many professionals. He was active during the time when sketching and painting was ceding to photography the task of recording the visible world. Although he was also a photographer, painting was, for him, both a poetic and a descriptive pursuit, a way of wrapping an artistic expression around a phenomenon he was interested in or moved by. Thus motivated, Coleman's paintings give much joy and command a good deal of respect. The more surprising, perhaps given that he used to introduced himself more as a geologist than a painter.
Coleman travelled throughout the United States for professional conferences as well as geological field work. He visited many of the major American mountain ranges including: the American Cordillera Mountains (Washington, Oregon and California); the Sierra Nevada Mountains (California and Nevada); Yellowstone National Park (Wyoming, Montana and Idaho); and the Appalachian Mountains (eastern United States). Pleistocene glaciation had extended in Northern Europe as far south as Berlin and London and covered an area of two million square miles. Coleman also visited such countries as India, Australia, Brazil, Argentina, Scandinavia, Bolivia, New Zealand, South Africa and Uruguay. In his final years he made two expeditions to the Andes in Colombia, to mountains in Southern Mexico and to two mountains in Central America. He achieved the first ascent of Castle Mountain in 1884, and in 1907, he was the first white man to attempt to climb Mount Robson. He made a total of eight exploratory trips to the Canadian Rockies, wholly four of them looking for the mythical giants of Hooker and Brown.
From 1901 to 1922, he was a Professor of Geology at the University of Toronto and was Dean of the Faculty of Arts from 1919 to 1922. From 1931 to 1934, he was a geologist with the Department of Mines of the Government of Ontario. He was elected a Fellow of the Royal Society of Canada in 1900 and was its President in 1921. In 1929, he was appointed Honorary Vice-President of the Royal Canadian Geographical Society.
"Mount Coleman" and "Coleman Glacier" in Banff National Park is named in his honor. He was awarded the Penrose Medal in 1936.
He planned to climb "his" mountain, "Mount Coleman"'in the Albertan Rockies, and had also prepared a trip to British Guiana, but death intervened.
He was author of:
- Reports on the Economic Geology of Ontario (1903)
- Lake Ojibway; Last of the Great Glacial Lakes (1909)
- The Canadian Rockies: New and Old Trails (1911)
- Ice Ages, Recent and Ancient (1926), and was co-author of Elementary Geology (1922).
- The Last Million Years (1941) edited by George F. Kay

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2022 - Wandering Vertexes...
by Francis Rousseau

Sunday, May 22, 2022

LE GRAND VEYMONT SKETCHED BY JEAN-BAPTISTE NÉE


JEAN -BAPTISTE NÉE (b.1986) The  Grand Veymont (2,341m - 7,680 ft) France (Vercors)  In Vercors, hiver, paroi, gel (II), lavis, 2019, 16 x 25cm

 

JEAN -BAPTISTE NÉE (b.1986)
Le Grand Veymont (2,341m - 7,680 ft)
France (Vercors)

In Vercors, hiver, paroi, gel (II), lavis, 2019, 16 x 25cm


The artist
Jean-Baptiste Née, born in 1986. is a french painter, scenographer and visual artist, graduated from Arts-Décoratifs of Paris in 2012. Jean-Baptiste Née works in the mountains and high mountains, always in situ, in direct confrontation with the movements of the earth and water and wind. He gives a growing place for the action of the elements on the work in progress (rain, snow, frost, etc.). He established his "large workshop" in the Swiss Alps or in the Vercors massif - especially in winter -, as well as during long hikes in the Italian Alps. In the winter of 2018, he worked in the massifs of Wudangshan and Lushan, in China, and became interested in the Taoist notion of "Sky". Since 2016, Jean-Baptiste Née exhibits regularly in galleries in France and Switzerland. His workshop is in Montreuil, France. Exhibited in Galerie Camera
Obscura in Paris. A book was recently published about his work "Le monde nu" Éditions Hartpon.
Contact @jeanbaptiste.nee.
Jean Basptiste Née website

The mountain,
Le Grand Veymont (2,341m - 7,680 ft)( is  a mountain in the district of Gresse-en-Vercors, part of the department of Isère, France, is the highest point of the Massif du Vercors, but not the highest of the Vercors Regional Natural Park (which is the Rocher Rond at 2,453m).  It has a prominence of 1165 metres and an isolation of 26.88 kilometres. It is situated between le Pas de la Ville to the north and le Pas des Chattons to the south, and is part of the eastern edge of the high plateau of the Massif du Vercors.  It is preceded to the north by (north to south) "le Rocher de Séguret" (the Rock of Séguret, 2051 metres), "Roche Rousse" (Red Rock, 2105 metres), and "le Sommet de Pierre-Blanche" (the Summit of White Rock, 2106 metres)  and followed to the south (north to south) by Petit Veymont or Aiguillette (little Veymont or small needle, 2120 metres) and Mont Aiguille (Mount Needle, 2085 metres). Due to its location in the Parc du Vercors, it is far from any paved road. A moderately easy route to the summit involves walking about 10 km, hiking through the backcountry.
On 10 February 2007, a twin-engine light aircraft flying from London to Cannes disappeared in a snowstorm over le Grand Veymont, crashing into the mountainside and killing all three people aboard. The bodies and wreckage were recovered less than 24 hours later, at around 1960 metres above sea level, close to the Pas de la Ville, after a rescue operation involving more than one hundred policemen, firemen, mountain rescue specialists, and three helicopters equipped with infra-red cameras.

Thursday, May 19, 2022

CERRO ACONCAGUA PAINTED BY RHOD WULFARS

 

RHOD WULFARS (bn. 1979) Aconcagua (6,961 m -22,838 ft) Argentina  In "Aconcagua," Acrylic on canvas, 18 x 24cm

RHOD WULFARS (bn. 1979)
Aconcagua (6,961 m -22,838 ft)
Argentina

In "Aconcagua," Acrylic on canvas, 18 x 24cm


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


The mountain
Cerro Aconcagua (6,961 meters -22,838 ft) or simplynThe Aconcagua is the highest mountain outside of Asia and by extension the highest point in both the Western Hemisphere and the Southern Hemisphere.
Aconcagua is not a volcano.  he origin of the name is contested; it is either from the Mapuche "Aconca-Hue", which refers to the Aconcagua River, the Quechua "Ackon Cahuak", meaning "Sentinel of Stone", or Quechua "Anco Cahuac", meaning "White Sentinel" or the Aymara "Janq'u Q'awa" meaning "White Ravine", "White Brook".
Aconcagua is located in the Andes mountain range, in the Mendoza Province, Argentina, and lies 112 kilometers (70 mi) northwest of its capital, the city of Mendoza and 108 km (67 mi) from Santiago de Chile (the capital of Chile). The summit is in fact located about 5 kilometers from San Juan Province and 15 kilometers from the international border with Chile; its nearest higher neighbor is Tirich Mir in the Hindu Kush, 16,520 kilometers (10,270 mi) away.
Aconcagua is one of the Seven Summit, which includes the highest mountains of each of the seven continents. The 7 summits (which are obviously 8 !)... are : Mt Everest (8,848m), Mt Denali or Mc Kinley (6,194m), Kilimandjaro (5,895m), Mt Elbrus (5,642m), Vinson Massif (4,892m), Mt Blanc (4,807m) and Mount Kosciuszko (2,228m). Summiting all of them is regarded as a mountaineering challenge, first achieved on April 30, 1985 by Richard Bass.
The mountain and its surroundings are part of the Aconcagua Provincial Park. The mountain has a number of glaciers. The largest glacier is the Ventisquero Horcones Inferior at about 10 km long, which descends from the south face to about 3600 m altitude near the Confluencia camp. Two other large glacier systems are the Ventisquero de las Vacas Sur and Glaciar Este/Ventisquero Relinchos system at about 5 km. 

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2022 - Wandering Vertexes...
by Francis Rousseau

 

Sunday, May 1, 2022

MOUNT HAKU / 白山 BY HIROSHIGE II / 二代目 歌川広重

HIROSHIGE II (1826 - 1869) Mount Haku /白山, (2,702.2 m -8,865 ft Japan ( Honshu)   In Mount Haku, Kaga Province,  Woodblock Print,  1862- in Sixty-eight Views of the Various Provinces, 1862

 

HIROSHIGE II  /  二代目 歌川広重 (1826 - 1869)
Mount Haku /白山, (2,702.2 m -8,865 ft
Japan ( Honshu)

 In Mount Haku, Kaga Province,  Woodblock Print,  1862- in Sixty-eight Views of the Various Provinces, 1862

The mountain
Mount Haku /白山 (2,702.2 m -8,865 ft), meaning"White Mountain", or Mount Hakusan (commonly referred to as simply Hakusan), is a dormant stratovolcano in Japan. It is located on the borders of Gifu and Ishikawa, on the island of Honshu. Mount Haku is thought  to have first been active 300,000 to 400,000 years ago, with the most recent eruption occurring in 1659. Along with Mount Tate and Mount Fuji, it is one of Japan's "Three Holy Mountains". The mountain's tallest peak, Gozenga-mine (御前峰), is the one that gives the mountain its height of 2,702 m (8,865 ft). Along with Ken-ga-mine (剣ヶ峰), which is 2,677 m (8,783 ft), and Ōnanji-mine (大汝峰), which is 2,648 m (8,688 ft), the three peaks are considered "Mount Haku's Three Peaks" (白山三峰 Hakusan San-mine). Mount Bessan and Mount Sannomine are sometimes included and called "Mount Haku's Five Peaks" (白山五峰). Because it is very prominent and clearly visible from the nearby coast, even after the surrounding mountains have lost their snow, Mount Haku still appears white, which is one explanation for the mountain's name, which means "white mountain." It is also the westernmost mountain in Japan that is over 2,000 m (6,562 ft) in height. Taichō, a mountain Shugendo monk, first climbed Mount Hakusan in 717. For hundreds of years, people have come to Haku for prayers (白山信仰). A branch shrine of Shirayama Hime Shrine, which served as the supreme shrine for Kaga Province, is on the mountain. The Shirayama Hime Shrine is the main shrine (総本社) of approximately 2,000 Hakusan shrines (白山神社) in Japan. In 1980 an area of 48,000 ha was designated a UNESCO Man and the Biosphere Reserve. Mount Haku was designated as a quasi-national park in 1955. It became a national park in 1962 and was renamed Hakusan National Park. Because the central part of the mountain has much precipitous terrain, there are very few roads and, as a result, little human intrusion into the area. Also limiting human intrusion is the designation of the park as a Wildlife Protection Area, covering over 38,061 ha. The park stretches beyond the mountain's borders into Toyama Prefecture.


The artist
Hiroshige II (二代目 歌川広重) 1826 – 17 September 1869) was a Japanese designer of ukiyo-e art. He inherited the name Hiroshige II following the death in 1858 of his master Utagawa Hiroshige (歌川 広重), whose daughter he married. In 1865 he moved from Edo to Yokohama after dissolving his marriage and began using the name Kisai Risshō (喜斎立祥). His work so resembles that of his master that scholars have often confused them.
Born Suzuki Chinpei (鈴木鎮平) in 1826, it is said that he was born to a fireman, as was his master Utagawa Hiroshige (歌川 広重), to whom he became apprenticed under the name Shigenobu at an unknown age. His earliest known work is the illustrations for a book called Twenty-four Paragons of Japan and China from 1849. Hiroshige II produced a large number of commissioned work in the 1850s in the style of the elder Hiroshige, and often signed his work Ichiryūsai mon ("student of Ichiryūsai", another art name of Hiroshige I's), and from c. 1853 to 1858 simply as Ichiryūsai. In 1858, he married Hiroshige I's daughter Otatsu after the master's death and inherited the Hiroshige name, as well as the names Ichiryūsai and Ryūsai.
Utagawa Hiroshige (歌川 広重) took on few students; Hiroshige II was the most successful of these. His works have often been confounded with those of his master, which they resemble closely in style, subject, and signature. Early Western scholars did not even recognize him as a separate artist. Another pupil of the first Hiroshige, Shigemasa, later married the master's daughter, Otatsu, and also began using the name Hiroshige; this artist now is known as Hiroshige III.


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2022 - Wandering Vertexes...
by Francis Rousseau

Saturday, April 23, 2022

THE MONT BLANC PAINTED BY CESARE MAGGI

 

CESARE MAGGI (1881-1962), The Mont Blanc (4,808.73 m -15,777 ft) France - Italy  In " Alla montagne, il Monte Biancho", fuile sur toile, détail.

CESARE MAGGI (1881-1962),
The Mont Blanc (4,808.73 m -15,777 ft)
France - Italy

In " Alla montagne, il Monte Biancho", oil on canvas 


The painter
The italian painter Cesare Maggi was born into a family of actors, Maggi embarked on classical studies at his father’s wish but also took up painting at a very early age His debut in Florence at the Esposizione Annuale della Società di Belle Arti di Firenze in 1898 was followed by a short trip to Paris to catch up with the latest developments.
The crucial turning point in Maggi’s art came in 1889 with the posthumous show of work by Giovanni Segantini held by the Milanese Society of Fine Arts, which prompted a definitive shift to landscape painting of a Divisionist character. After a short stay in the Engadin, he returned to Milan before finally settling in Turin. Commercial collaboration with Alberto Grubicy until 1913 enabled Maggi to establish himself quickly as one of the leading representatives of the second generation of Divisionist painters in Italy. He painted a repertoire of readily comprehensible mountain landscapes focusing primarily on aspects of the visual perception of the reflection of light and colour but lacking the deep spirituality of Segantini’s work. He took part in the major Italian and European exhibitions and the Venice Biennale devoted an entire room to his work at the Esposizione Internazionale d’Arte of Venice in 1912. After an interlude devoted to portrait painting in the same decade, the artist’s mature work focused on greater simplification of subject matter, mostly in landscapes.
Maggi obtained the chair in painting at the Albertina Academy, Turin, in 1936.


The mountain

The Mont-Blanc (in French) (4 ,808.73 m -15,777 ft) or Monte Bianco (in Italian), both meaning "White Mountain", is the highest mountain in the Alps and the highest in Europe after the Caucasus peaks. It is ranked 11th in the world in topographic prominence. The Mont Blanc is one of the Seven Summit, which includes the highest mountains of each of the seven continents. Summiting all of them is regarded as a mountaineering challenge, first achieved on April 30, 1985 by Richard Bass. The 7 highest summit, (which are obviously 8 with 2 in Europe !) are : Mount Everest (8,848m), Aconcagua (6,961m), Mt Denali or Mc Kinley (6,194m), Kilimandjaro (5,895m), Mt Elbrus (5,642m), Mount Vinson (4,892m) and Mount Kosciuszko (2,228m) in Australia.
The mountain lies in a range called the Graian Alps, between the regions of Aosta Valley, Italy, and Savoie and Haute-Savoie, France. The location of the summit is on the watershed line between the valleys of Ferret and Veny in Italy and the valleys of Montjoie, and Arve in France. The Mont Blanc massif is popular for mountaineering, hiking, skiing, and snowboarding.
The three towns and their communes which surround Mont Blanc are Courmayeur in Aosta Valley, Italy, and Saint-Gervais-les-Bains and Chamonix in Haute-Savoie, France. A cable car ascends and crosses the mountain range from Courmayeur to Chamonix, through the Col du Géant. Constructed beginning in 1957 and completed in 1965, the 11.6 km (7¼ mi) Mont Blanc Tunnel runs beneath the mountain between these two countries and is one of the major trans-Alpine transport routes.
Since the French Revolution, the issue of the ownership of the summit has been debated.
From 1416 to 1792, the entire mountain was within the Duchy of Savoy. In 1723 the Duke of Savoy, Victor Amadeus II, acquired the Kingdom of Sardinia. The resulting state of Sardinia was to become preeminent in the Italian unification.[ In September 1792, the French revolutionary Army of the Alps under Anne-Pierre de Montesquiou-Fézensac seized Savoy without much resistance and created a department of the Mont-Blanc. In a treaty of 15 May 1796, Victor Amadeus III of Sardinia was forced to cede Savoy and Nice to France. In article 4 of this treaty it says: "The border between the Sardinian kingdom and the departments of the French Republic will be established on a line determined by the most advanced points on the Piedmont side, of the summits, peaks of mountains and other locations subsequently mentioned, as well as the intermediary peaks, knowing: starting from the point where the borders of Faucigny, the Duchy of Aoust and the Valais, to the extremity of the glaciers or Monts-Maudits: first the peaks or plateaus of the Alps, to the rising edge of the Col-Mayor". This act further states that the border should be visible from the town of Chamonix and Courmayeur. However, neither the peak of the Mont Blanc is visible from Courmayeur nor the peak of the Mont Blanc de Courmayeur is visible from Chamonix because part of the mountains lower down obscure them. A Sardinian Atlas map of 1869 showing the summit lying two thirds in Italy and one third in France.
After the Napoleonic Wars, the Congress of Vienna restored the King of Sardinia in Savoy, Nice and Piedmont, his traditional territories, overruling the 1796 Treaty of Paris. Forty-five years later, after the Second Italian War of Independence, it was replaced by a new legal act. This act was signed in Turin on 24 March 1860 by Napoleon III and Victor Emmanuel II of Savoy, and deals with the annexation of Savoy (following the French neutrality for the plebiscites held in Tuscany and Emilia-Romagna to join the Kingdom of Sardinia, against the Pope's will). A demarcation agreement, signed on 7 March 1861, defines the new border. With the formation of Italy, for the first time Mont Blanc is located on the border of France and Italy.
The 1860 act and attached maps are still legally valid for both the French and Italian governments. One of the prints from the 1823 Sarde Atlas positions the border exactly on the summit edge of the mountain (and measures it to be 4,804 m (15,761 ft) high). The convention of 7 March 1861 recognises this through an attached map, taking into consideration the limits of the massif, and drawing the border on the icecap of Mont Blanc, making it both French and Italian.Watershed analysis of modern topographic mapping not only places the main summit on the border, but also suggests that the border should follow a line northwards from the main summit towards Mont Maudit, leaving the southeast ridge to Mont Blanc de Courmayeur wholly within Italy.
Although the Franco-Italian border was redefined in both 1947 and 1963, the commission made up of both Italians and French ignored the Mont Blanc issue. In the early 21st century, administration of the mountain is shared between the Italian town of Courmayeur and the French town of Saint-Gervais-les-Bains, although the larger part of the mountain lies within the commune of the latter.

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2022- Wandering Vertexes...
by Francis Rousseau

Wednesday, January 12, 2022

BELUKHA MOUNTAIN (2) PAINTED BY NICHOLAS ROERICH

 

NICHOLAS ROERICH (1874-1947) Belukha Mountain (4,506 m, 14,784 ft) Russia-Kazakhstan, border    In  Path to Shambhala, oil on canvas,  1933,  Roerich Museum NYC

NICHOLAS ROERICH (1874-1947)
Belukha Mountain (4,506 m - 14,784 ft)
Russia - Kazakhstan border 

 In  Path to Shambhala, oil on canvas, 1933,  Roerich Museum NYC


About Shambala
Nicholas and Helena Roerich led a 1924–1928 expedition aimed at Shambhala. They also believed that Belukha Mountain in the Altai Mountains was an entrance to Shambhala, a common belief of that region. Inspired by Theosophical lore and several visiting Mongol lamas, Gleb Bokii, the chief Bolshevik cryptographer and one of the bosses of the Soviet secret police, along with his writer friend Alexander Barchenko, embarked on a quest for Shambhala, in an attempt to merge Kalachakra-tantra and ideas of Communism in the 1920s. Among other things, in a secret laboratory affiliated with the secret police, Bokii and Barchenko experimented with Buddhist spiritual techniques to try to find a key for engineering perfect communist human beings.  They contemplated a special expedition to Inner Asia to retrieve the wisdom of Shambhala – the project fell through as a result of intrigues within the Soviet intelligence service, as well as rival efforts of the Soviet Foreign Commissariat that sent its own expedition to Tibet in 1924. French Buddhist Alexandra David-Néel associated Shambhala with Balkh in present-day Afghanistan, also offering the Persian Sham-i-Bala, "elevated candle" as an etymology of its name.  In a similar vein, the Gurdjieffian J. G. Bennett published speculation that Shambalha was Shams-i-Balkh, a Bactrian sun temple.


The mountain

Belukha Mountain located in the Katun Mountains, is the highest peak of the Altai Mountains in Russia and the highest of the system of the South Siberian Mountains. It is part of the World Heritage Site entitled Golden Mountains of Altai. Located in the Altai Republic, Belukha is a three-peaked mountain massif that rises along the border of Russia and Kazakhstan, just a few dozen miles north of the point where this border meets with the border of China. There are several small glaciers on the mountain, including Belukha Glacier. Of the two peaks, the eastern peak (4,506 m, 14,784 ft.) is higher than the western peak (4,440 m, 14,567 ft.). Belukha was first climbed in 1914 by the Tronov brothers. Most ascents of the eastern peak follow the same southern route as that taken in the first ascent. Though the Altai is lower in elevation than other Asian mountain groups, it is very remote, and much time and planning are required for its approach.
In the summer of 2001, a team of scientists traveled to the remote Belukha Glacier to assess the feasibility of extracting ice cores at the site. Research was carried out from 2001 to 2003: both shallow cores and cores to bedrock were extracted and analyzed (Olivier and others, 2003; Fujita and others, 2004). Based on tritium dating techniques, the deeper cores may contain as much as 3,000–5,000 years of climatic and environmental records. A Swiss-Russian team also studied the glacier.
Since 2008, one is required to apply for a special border zone permit in order to be allowed into the area (if travelling independently without using an agency). Foreigners should apply for the permit to their regional FSB border guard office two months before the planned date.

The painter
Nicholas Roerich known also as Nikolai Konstantinovich Rerikh (Никола́й Константи́нович Ре́рих) is quite an important figure of mountain paintings in the early 20th century. He was a Russian painter, writer, archaeologist, theosophist, perceived by some in Russia as an enlightener, philosopher, and public figure. In his youth was he was quite influenced by a movement in Russian society around the occult and was interested in hypnosis and other spiritual practices. His paintings are said to have hypnotic expression.
Born in Saint Petersburg, Russia, he lived in various places around the world until his death in Naggar, Himachal Pradesh, India. Trained as an artist and a lawyer, his main interests were literature, philosophy, archaeology, and especially art. After the February Revolution of 1917 and the end of the czarist regime, Roerich, a political moderate who valued Russia's cultural heritage more than ideology and party politics, had an active part in artistic politics. With Maxim Gorky and Aleksandr Benois, he participated with the so-called "Gorky Commission" and its successor organization, the Arts Union (SDI).
After the October Revolution and the acquisition of power of Lenin's Bolshevik Party, Roerich became increasingly discouraged about Russia's political future. During early 1918, he, Helena, and their two sons George and Sviatoslav emigrated to Finland. After some months in Finland and Scandinavia, the Roerichs relocated to London, arriving in mid-1919. Later, a successful exhibition resulted in an invitation from a director at the Art Institute of Chicago, offering to arrange for Roerich's art to tour the United States. During the autumn of 1920, the Roerichs traveled to America by sea. The Roerichs remained in the United States from October 1920 until May 1923.
After leaving New York, the Roerichs – together with their son George and six friends – began the five-year-long 'Roerich Asian Expedition' that, in Roerich's own words: "started from Sikkim through Punjab, Kashmir, Ladakh, the Karakoram Mountains, Khotan, Kashgar, Qara Shar, Urumchi, Irtysh, the Altai Mountains, the Oyrot region of Mongolia, the Central Gobi, Kansu, Tsaidam, and Tibet" with a detour through Siberia to Moscow in 1926.
In 1929 Nicholas Roerich was nominated for the Nobel Peace Prize by the University of Paris. He received two more nominations in 1932 and 1935. His concern for peace resulted in his creation of the Pax Cultura, the "Red Cross" of art and culture. His work for this cause also resulted in the United States and the twenty other nations of the Pan-American Union signing the Roerich Pact on April 15, 1935 at the White House. The Roerich Pact is an early international instrument protecting cultural property.
In 1934–1935, the U.S. Department of Agriculture (then headed by Roerich admirer Henry A. Wallace) sponsored an expedition by Roerich and USDA scientists H. G. MacMillan and James F. Stephens to Inner Mongolia, Manchuria, and China.
Roerich was in India during the Second World War, where he painted Russian epic heroic and saintly themes, including: Alexander Nevsky, The Fight of Mstislav...
In 1942, Roerich received Jawaharlal Nehru at his house in Kullu. Together they discussed the fate of the new world: "We spoke about Indian-Russian cultural association, it is time to think about useful and creative cooperation ...”.
Gandhi would later recall about several days spent together with Roerich's family: "That was a memorable visit to a surprising and gifted family where each member was a remarkable figure in himself, with a well-defined range of interests." ..."Roerich himself stays in my memory. He was a man with extensive knowledge and enormous experience, a man with a big heart, deeply influenced by all that he observed". During the visit, "ideas and thoughts about closer cooperation between India and USSR were expressed. Now, after India wins independence, they have got its own real implementation[clarification needed]. And as you know, there are friendly and mutually-understanding relationships today between both our countries".
In 1942, the American-Russian cultural Association (ARCA) was created in New York.
Its active participants were Ernest Hemingway, Rockwell Kent, Charlie Chaplin, Emil Cooper, Serge Koussevitzky, and Valeriy Ivanovich Tereshchenko. The Association's activity was welcomed by scientists like Robert Millikan and Arthur Compton.
Roerich died on December 13, 1947.
Presently, the Nicholas Roerich Museum in New York City is a major institution for Roerich's artistic work. Numerous Roerich societies continue to promote his theosophical teachings worldwide. His paintings can be seen in several museums including the Roerich Department of the State Museum of Oriental Arts in Moscow; the Roerich Museum at the International Centre of the Roerichs in Moscow; the Russian State Museum in Saint Petersburg, Russia; a collection in the Tretyakov Gallery in Moscow; a collection in the Art Museum in Novosibirsk, Russia; an important collection in the National Gallery for Foreign Art in Sofia, Bulgaria; a collection in the Art Museum in Nizhny Novgorod Russia; National Museum of Serbia ; the Roerich Hall Estate in Nagar village in Kullu Valley, India; the Sree Chitra Art Gallery, Thiruvananthapuram, India;[17] in various art museums in India; and a selection featuring several of his larger works in The Latvian National Museum of Art.

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2022 - Wandering Vertexes...
by Francis Rousseau

Saturday, December 4, 2021

MOUNT KATAHDIN (3) PAINTED BY FREDERIC EDWIN CHURCH




FREDERIC  EDWIN  CHURCH 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,

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 

Saturday, November 20, 2021

THE TORRIDON HILLS SKETCHED BY WILLIAM TURNER OF OXFORD


WILLIAM TURNER OF OXFORD (1789-1862), The Torridon Hills,  In Before Sunrise, Loch Torridon, Rossshire,watercolor, 44,5 x 89 cm, 1856, Courtesy John Mitchell Gallery, London

 

WILLIAM TURNER OF OXFORD (1789-1862)
The Torridon Hills:
Beinn Alligin (986 m -3,235 ft)
Liathach (1, 055 m- 3,461 ft)
Beinn Eighe (1,010m -3,310 ft)
United Kingdom (Scotland)

In Before Sunrise, Loch Torridon, Rossshire,watercolor, 44,5 x 89 cm, 1856,
Courtesy John Mitchell Gallery, London


About this watercolor
At nearly three feet across this is one of William Turner’s largest known paintings, and belongs to the series of Scottish views which formed the major part of his output after his tour of Scotland undertaken in 1838. His expedition that year took him north from Inverness as far as Loch Inver, and then via Loch Torridon to Skye, whose hills and coast he explored thoroughly. The dramatic effect of the sun’s rays at dawn and the noble stag in the foreground combine with the grandiose scenery to conjure up all the appeal of Scotland which so captivated the popular spirit of the time; indeed, in studying this fresh and imposing watercolour, it is hard to escape the romantic overtones of Sir Walter Scott’s vision of the Highlands.
(From John Mitchell Gallery notice)

The painter
William Turner (1789-1862) was sent to London at the age of fifteen to take up an apprenticeship under John Varley, and was elected a full member of the Old Watercolour Society in 1808. It was in this period that J.M.W.Turner rose to fame, and as a result the younger artist became known as ‘Turner of Oxford’. His own reputation firmly established, he returned to his uncle’s estate at Shipton-under-Cherwell in 1812 and began to build up his practice as a drawing master in Oxford. His range of subject matter was vast, and he travelled throughout the British Isles in search of subjects – from the Wye Valley to the Lake District, from Wales and the Hebrides to the Isle of Wight, and he was a loyal exhibitor at the Society of Painters in Watercolour, submitting a total of 455 pictures, including this one. Turner of Oxford was described as follows: ‘Worthy and dignified, looking like a parson of the old school, dressed in black and wearing a white tie, he lived a hum-drum life at his house, 16 John Street, near Worcester College, where he resided from 1833 till his death on 7th August 1862’ (quoted in Martin Hardie, ‘William Turner of Oxford’, Old Watercolour Society’s Club, Vol. IX (1931-32). It is worth noting that in signing this present painting on the reverse, Turner includes his Oxford address.
(From John Mitchell Gallery notice)


The mountains
The Torridon Hills. The loch Torridon is surrounded by various mountains to the north, including Liathach, Beinn Alligin and Beinn Eighe, all of which are over 3,000 feet (910 m) in height. The Torridon Hills exhibit dramatic mountain scenery. The rocks of which they are made are known as Torridonian sandstone, some of which are crowned by white Cambrian quartzite. They are amongst the oldest rocks in Britain, and sit on yet older rocks, Lewisian gneiss.

Beinn Alligin (986 m -3,235 ft) on left , is one of the classic mountains of the Torridon region of Scotland, lying to the north of LochTorridon, in the Highlands. The name Beinn Alligin is from the Scottish Gaelic, meaning Jewelled Hill. The mountain has two peaks of Munro status: Tom na Gruagaich (922 metres -3,025 ft)) to the south, and Sgùrr Mhòr at 986 metres -3,235 ft) to the north. One of the most prominent features of Beinn Alligin is a great cleft known as Eag Dhubh na h-Eigheachd (black gash of the wailing) or Leum na Caillich, which cuts into the ridge south of the summit. It is the scar of the most spectacular rockslide or rock avalanche in Britain, which runs out into the corrie of Toll a' Mhadaidh Mor. It occurred around 3750 years ago and is around 3.5 million cubic metres in volume. According to local folklore shepherds on the mountain would hear cries from the gash; those who investigated the source of these cries would inevitably fall to their deaths. Beinn Alligin lies on the National Trust for Scotland's Torridon Estate, which has been owned by the charity since 1967, and forms part of both a Site of Special Scientific Interest (SSSI) and a Special Area of Conservation (SAC). 

Liathach  (1,055 m- 3,461 ft) in the center of the waterolor is a mountain in the Torridon Hills. It lies to the north of the A896 road, in the Northwest Highlands of Scotland, and has two peaks of Munro status: Spidean a' Choire Lèith at the east of the main ridge, and Mullach an Rathain at the western end of the mountain. The name Liathach is pronounced in Scottish Gaelic, and means 'The grey one'. When seen from the roadside below, its slopes appear to rise up in a series of near vertical rocky terraces. 

Beinn Eighe (1,010m -3,310 ft)  on right is a complex mountain massif in the Torridon area of Wester Ross in the Highlands of Scotland. Lying to the south of Loch Maree, it forms a long ridge with many spurs and summits, two of which are classified as Munros. The name Beinn Eighe comes from the Scottish Gaelic meaning file mountain.[ Unlike most other hills in the area it has a cap of Cambrian basal quartzite which gives the peaks of Beinn Eighe a distinctive light colour. Its complex topography has made it popular with both hillwalkers and climbers and the national nature reserve on its northern side makes it an accessible mountain for all visitors.

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2021 - Wandering Vertexes...
by Francis Rousseau


Thursday, November 4, 2021

MONTAGNE SAINTE-VICTOIRE ( 2) SKETCHED BY JEAN-BAPTISTE NÉE

JEAN-BAPTISTE NÉE (b.1986) The Montagne Sainte Victoire (1, 011m - 2, 216 ft) France (Provence Alpes Côte d'azur)   In  La Sainte-Victoire (2), Fusain, 29, 7 x4 2cm  2008
 
JEAN-BAPTISTE NÉE (b.1986)
The Montagne Sainte Victoire (1, 011m - 2, 216 ft)
France (Provence Alpes Côte d'azur)

 In  La Sainte-Victoire (2), Fusain, 29, 7 x 42 cm,  2008


About this drawing
Jean Baptiste Née made several charcoal drawings of the Sainte Victoire of which a first one has already been published in this blog. 

 
The artist
Jean-Baptiste Née, born in 1986. is a french painter, scenographer and visual artist, graduated from Arts-Décoratifs of Paris in 2012. Jean-Baptiste Née works in the mountains and high mountains, always in situ, in direct confrontation with the movements of the earth and water and wind. He gives a growing place for the action of the elements on the work in progress (rain, snow, frost, etc.). He established his "large workshop" in the Swiss Alps or in the Vercors massif - especially in winter -, as well as during long hikes in the Italian Alps. In the winter of 2018, he worked in the massifs of Wudangshan and Lushan, in China, and became interested in the Taoist notion of "Sky". Since 2016, Jean-Baptiste Née exhibits regularly in galleries in France and Switzerland. His workshop is in Montreuil, France. Exhibited in Galerie Camera
Obscura in Paris. A book was recently published about his work "Le monde nu" Éditions Hartpon.
Contact @jeanbaptiste.nee.
Jean Basptiste Née website

The mountain
Mont Sainte-Victoire (1,011 m-3,316ft) also called Mont Venturi is a limestone massif in the South of France, in the region Provence-Alpes-Côte d'Azur. Located east of Aix-en-Provence, it has experienced international fame, due to the more than 80 works Paul Cézanne did on it. It hosts many hikers, climbers and nature lovers, and is a major element of Aix landscape.
The range of the Sainte-Victoire is 18 kilometers long and 5 kilometers from large, following a strict east-west orientation. It is located on the Bouches-du-Rhône and Var, and in the towns of Puyloubier, Saint-Antonin-sur-Bayon, Rousset, Châteauneuf-le-Rouge, Beaurecueil, Le Tholonet Vauvenargues, Saint-Marc-Jaumegarde, Pourrières, Artigues and Rians.
D 10 and D 17 (Route Cézanne) are the main roads to skirt the mountains. On the northern side, the D10 crosses the Col de Claps (530 m) and the Col des Portes (631 m). On the southern side, the D 17 walks on the Plateau de Cengle and crossed the Collet blanc de Subéroque (505 m).
The southern side is characterized by the presence of significant high limestone cliffs 500 to 700 m with the white appearance added to the sun gives the appearance of a high muraille. At the foot of the cliffs, there is more massive brush, oak, kermes oak, Aleppo pine (population greatly reduced after the fire of 1989) but also cultures (olive trees).
On the northern side among the many species present, the Crocus is fairly well represented in the hills and the wild iris and daffodil. One can also see various varieties and boxwood shrubs.
The massif rises to the Pic des Mouches (Peak of the Flies) (1011 m) near the eastern end of the chain, and not at the Croix de Provence (946 m) near the west end and visible from Aix. The Pic des Mouches is one of the highest peaks of the department of Bouches-du-Rhône, behind the peak Bertagne which reached an altitude of 1042 mètres and which is located on the massif of Sainte-Baume.
Sainte-Victoire, as the range of the Sainte Baume, can be considered a special case among the Alpine ranges for the various stages of the formation of its relief associated geological history as well as that of the old Pyrenean-Provençal chain than that of the Western Alps (which have succeeded it).
Indeed, from the former Sainte-Victoire mountain, contemporary of the dinosaurs of the Cretaceous, it remains today only the fold Bimont, said Chaînon des Costes Chaudes, the last vestige resulting from tectonic movements and characteristics of the stacks of Pyreneo-Provençal phase during the Eocene. Later during the Oligocene, breaking of the anticlinal fold of Sainte-Victoire, which resulted from the uplift of the first great Alpine reliefs, is causing a surge that help explain the current form of the mountain, which appeared 15 million years BCE.
Sainte-Victoire, whose calcareous sediments date back to the Jurassic, thus consists of both a Pyrenean-Provencal vestige and of an alpine geology. This singularity and this ambivalence help explain why, although a massive western Alps, the problem of this connection remains complexe.
According to a recent study, the Sainte-Victoire is still growing ! The company ME2i has indeed conducted a satellite survey between 1993 and 2003 providing evidence that during this period the western end of the Sainte-Victoire was uplift of 7 mm per year.
The massif is a ensemble of 6525 ha classified since 1983.
The massive hosts several world-famous dinosaur eggs deposits including the Roques-Hautes / Les Grands-Creux on the town Beaurecueil.
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2021 - Wandering Vertexes...
by Francis Rousseau