DER NIESEN PAINTED BY CUNO AMIET

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

Switzerland

 1. In  Thunersee mit Niesen, 1931 oil on canvas

2.  In Thunersee mit Niesen, 1932, watercolor

The mountain 

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

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

KILAUEA PAINTED BY AMBROSE PATTERSON

AMBROSE MC CARTHY PATTERSON (1877-1966) 

Mount Kilauea  (1,247 m - 4,091 ft) 

United States of America (Hawaï)  

In Mount Kilauea,  the house of Everlasting Fire, 1917 oil on canvas, Honolulu Museum of Art  

The mountain 
Kilauea (1,247 m - 4,091 ft) is a currently active shield volcano in the Hawaiian Islands, and the most active of the five volcanoes that together form the island of Hawaiʻi. Located along the southern shore of the island, the volcano is between 300,000 and 600,000 years old and emerged above sea level about 100,000 years ago. It is the second youngest product of the Hawaiian hotspot and the current eruptive center of the Hawaiian–Emperor seamount chain. Because it lacks topographic prominence and its activities historically coincided with those of Mauna Loa, Kīlauea was once thought to be a satellite of its much larger neighbor. Structurally, Kīlauea has a large, fairly recently formed caldera at its summit and two active rift zones, one extending 125 km (78 mi) east and the other 35 km (22 mi) west, as an active fault of unknown depth moving vertically an average of 2 to 20 mm (0.1 to 0.8 in) per year.
Kīlauea's eruptive history has been a long and active one; its name means "spewing" or "much spreading" in the Hawaiian language, referring to its frequent outpouring of lava. The earliest lavas from the volcano date back to its submarine preshield stage, samples having been recovered by remotely operated underwater vehicles from its submerged slopes; samples of other flows have been recovered as core samples. Lavas younger than 1,000 years cover 90 percent of the volcano's surface. The oldest exposed lavas date back 2,800 years. The first well-documented eruption of Kīlauea occurred in 1823 (Western contact and written history began in 1778), and since that time the volcano has erupted repeatedly. Most historical eruptions have occurred at the volcano's summit or its eastern rift zone, and are prolonged and effusive in character. The geological record shows, however, that violent explosive activity predating European contact was extremely common, and in 1790 one such eruption killed over 80 warriors; should explosive activity start anew the volcano would become much more of a danger to humans. Kīlauea's current eruption dates back to January 3, 1983, and is by far its longest-duration historical period of activity, as well as one of the longest-duration eruptions in the world; as of January 2011, the eruption has produced 3.5 km3 (1 cu mi) of lava and resurfaced 123.2 km2 (48 sq mi) of land.
Kīlauea's high state of activity has a major impact on its mountainside ecology where plant growth is often interrupted by fresh tephra and drifting volcanic sulfur dioxide, producing acid rains particularly in a barren area south of its southwestern rift zone known as the Kaʻū Desert. Nonetheless, wildlife flourishes where left undisturbed elsewhere on the volcano and is highly endemic thanks to Kīlauea's (and the island of Hawaiʻi's) isolation from the nearest landmass. Historically, the five volcanoes on the island were considered sacred by the Hawaiian people, and in Hawaiian mythology Kīlauea's Halemaumau Crater served as the body and home of Pele, goddess of fire, lightning, wind, and volcanoes. William Ellis, a missionary from England, gave the first modern account of Kīlauea and spent two weeks traveling along the volcano; since its foundation by Thomas Jaggar in 1912, the Hawaiian Volcano Observatory, located on the rim of Kilauea caldera, has served as the principal investigative and scientific body on the volcano and the island in general. In 1916 a bill forming the Hawaii Volcanoes National Park was signed into law by President Woodrow Wilson; since then the park has become a World Heritage Site and a major tourist destination, attracting roughly 2.6 million people annually.

The painter 
Ambrose McCarthy Patterson  was a painter and printmaker, born in Daylesford, Victoria (Australia). He studied at the Melbourne Art School under E. Phillips Fox and Tudor St George Tucker, at the National Gallery Art School in Melbourne and continued his studies in Paris at the Académie Colarossi and the Académie Julian under Lucien Simon, André Lhote and Maxime Maufra. In Paris he became a friend of compatriot Nellie Melba, the famous soprano; Patterson's brother, Tom, was married to Melba's sister, Belle. Through Melba's influence, he was able to continue his studies with John Singer Sargent. He became part of the Paris arts scene and exhibited at the first Salon d'Automne exhibitions. He had five paintings at the 1905 Paris Salon at which Henri Matisse and the fauves stunned the art world.
He arrived in Hawaii in 1916 on a stopover from Sidney to New York, and decided to stay with a Parisian friend living in Honolulu. During the next 18 months, Patterson made block prints and paintings with particular interest in Kilauea. His art was included in the Hawaiian Society of Artists Annual in 1917. He left for California in 1918 and settled in Seattle. At the 1918 Spring Annual of the San Francisco Art Association (SFAA) his wood block prints were said to be "especially fine in color." That summer his art was given a one-man exhibition at the SFAA galleries and he contributed three color prints (The Steeple Chase, The Bull Fight, and The Long Beach) to the Seventh Annual of the California Society of Etchers.
By September 1918 Patterson had moved to Seattle to work as a freelance artist, perhaps being the first modern artist in that city, and that fall his art was given a solo show at the Seattle Fine Arts Society, the first of many exhibitions in Washington State. In 1919 he established the University of Washington School of Painting and Design. Patterson married painter and former student Viola Hansen in 1922, and the two became major figures of the arts in the Pacific Northwest region. Patterson taught until his retirement in 1947. He died in Seattle in 1966 leaving behind an impressive record of awards received and exhibitions across the United States, including the: Art Institute of Chicago, Museum of Modern Art in New York City, National Gallery of Art in Washington, D.C., and the World’s Fairs in San Francisco and New York City.
The Art Gallery of New South Wales (Sydney, Australia), the Honolulu Museum of Art, the National Portrait Gallery (Australia) (Canberra), the Philadelphia Museum of Art, the Seattle Art Museum and the Tacoma Art Museum are among the public collections holding works by Ambrose McCarthy Patterson.

THABANA NTLENYANA PAINTED BY JACOBUS HENDRIK PIERNEEFF

JACOBUS HENDRIK PIERNEEF (1886-1957)

Thabana Ntlenyana (3, 482m - 11, 424ft) 

South Africa, Lesotho 

In Maluti Mountains, oil on canvas, 1929

The mountain 

Thabana Ntlenyana  (3,482m - 11, 424ft)  which literally means "Beautiful little mountain" in Sesotho, is the highest point in Lesotho and the highest mountain in southern Africa. It is situated on the Mohlesi ridge of the Drakensberg/Maloti Mountains, north of Sani Pass.  The peak is usually climbed by groups completing a Grand Traverse of the Drakensberg - even though the peak is technically in the Maloti Mountains.

The Maloti Mountains, also spelled Maluti are a mountain range of the highlands of the Kingdom of Lesotho. They extend for about 100 km into the Free State. The Maloti Range is part of the Drakensberg system that includes ranges across large areas of South Africa. “Maloti” is also the plural for Loti, the currency of the Kingdom of Lesotho. The range forms the northern portion of the boundary between the Butha-Buthe District in Lesotho and South Africa’s Orange Free State.

The painter 
Jacobus Hendrik (Henk) Pierneef (usually referred to as Pierneef)  was a South African landscape artist, generally considered to be one of the best of the old South African masters. His distinctive style is widely recognized and his work was greatly influenced by the South African landscape.
Most of his landscapes were of the South African highveld, which provided a lifelong source of inspiration for him. Pierneef's style was to reduce and simplify the landscape to geometric structures, using flat planes, lines and colour to present the harmony and order in nature. This resulted in formalised, ordered and often-monumental view of the South African landscape, uninhabited and with dramatic light and colour.
Pierneef's work can be seen worldwide in many private, corporate and public collections, including the Africana Museum, Durban Art Gallery, Johannesburg Art Gallery, King George VI Art Gallery, Pierneef Museum and the Pretoria Art Gallery.

EARNSLAW / PIKIRAKATAHI PAINTED BY CHARLES BLOMFIELD

CHARLES BLOMFIELD (1848-1926)

  Mount Earnslaw or Pikirakatahi  (2,819m -9,249 ft)

 New Zealand  

In Mount Earnslaw from head of Lake Wakatipu, oil on canvas, 1885 

The Mountain 

Mount Earnslaw, (2,819m -9,249 ft) also named Pikirakatahi by Māori is located on New Zealand's South Island. It is named after Earnslaw (formerly Herneslawe) village in the parish of Eccles, Berwickshire, hometown of the surveyor John Turnbull Thomson's father.

Mount Earnslaw is within Mount Aspiring National Park at the southern end of the Forbes Range of New Zealand's Southern Alps. It is located 25 kilometres north of the settlement of Glenorchy, which lies at the northern end of Lake Wakatipu. 

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.
Charles Blomfield lived in Freeman's Bay - 40 Wood Street, in a house built by his brother and allegedly made out of the timber from one large Kauri tree. As well as an exhibiting easel painter Blomfield worked as a sign-writer and interior decorator; for this trade he maintained studios in shops at various times. These were usually on Karangahape Road, one of these was shared with his daughter who made a living painting floral pieces which she also exhibited at the Auckland Society of Arts.
Blomfield travelled throughout the centre of the North Island on several occasions in the 1870s and 80s creating many landscape paintings of the New Zealand countryside, often for sale to visitors to New Zealand. He was fortunate to view the famed Pink and White Terraces several times and paint them before they were destroyed by the eruption of Tarawera in 1886. His meticulous sketches and finished paintings are some of the main records of them (see above).  For the remainder of his life he was probably able to rely on new versions of his classic views of them to supplement his income.
His paintings are widely regarded as the epitome of 19th century New Zealand landscape art, although his work, like many of his contemporaries, fell out of fashion during the 20th century, only to be re-evaluated in the 1970s. He was unable to come to terms with developments in art and remained staunchly conservative and hostile to 'modern art'. In his later years he found himself increasingly sidelined by the artistic circles in Auckland which he had previously shone in and was probably embittered by this.
Blomfield died at his residence in Wood Street in 1926. He was survived by several children. One of his brothers, William, was a noted newspaper cartoonist.

MANGART PAINTED BY MARCUS PERNHART

MARCUS PERNHART (1824-1871)

Mangart (2,679 m - 8, 789ft) 

Slovenia, Italy border

Painted from the Italian side 

The mountain 
Mangart  (2,679 m - 8, 789ft) also called  Mangrt or Veliki Mangart is a mountain in the Julian Alps, located on the border between Italy and Slovenia. It is, after Triglav and Skrlatica, the third-highest peak in Slovenia. It was first climbed in 1794 by the naturalist Franz von Hohenwart. Mangart is also the name of the mountain range between the Koritnica Valley and the Mangart Valley.
The road to Mangart Saddle (2,072 m- 6,798 ft) is the highest road in Slovenia. The Mangart Pass Hut is located at the western foot of Mangart. Two lakes under Mangart's northern face are situated on the italian side of the mountain.

The painter 
Marcus (or Markus) Pernhart was a Carinthian  / Slovenian / Austrian painter. He is considered the first Slovene realistic landscape painter. He painted several times Triglav.
At  barely 12 years, he painted the guest rooms of Krajcar Restaurant between Klagenfurt and Völkermarkt. The innkeeper made, the bishop's chaplain Henr. Hermann discovered the talented boys. At 15, he trained in painting first with Andreas Hauser in Klagenfurt. Hermann supported him further and introduced him to his patron, the Gorizia Archbishop Francis Xavier Luzhin.  Through this he got contact with the Viennese art scene, particularly to Franz Steinfeld, who taught at the Academy of Fine Arts. It was forwarded to the Munich Academy, but soon returned to Carinthia. There he was promoted by his stage name Pernhart the famous landscape painter of his time.
When Pernharts drawing style had fully developed, he was asked by Max from Moro to draw all Castles Carinthia. The idea was to these buildings if they could often for financial reasons can not be obtained, at least to preserve the picture, thereby preserving from decay. Markus Pernhart does not disappoint its customers and held in pencil drawings smallest details of the well-preserved, but also the already partly decayed plants firmly. Already in 1853, he produced 40 drawings followed by 198 others, he property of the Historical Association for Carinthia. In 1855  he gave the Carinthian estates Empress Elisabeth, an album of 21 drawings to which Max Moro contributed. Entitled images from Carinthia  appeared  in 1863-1868 in deliveries as steel engravings with accompanying. After his death appeared 5 lithographic panoramic images (Klagenfurt in 1875 and 1889).
His entire painted oeuvre consists of approximately 1,200  paintings, drawings and enrgavings that delight even after his death a large appreciation.
Pernhart presented landscapes, preferably lakes and high mountain motifs or castles, but also animals and still life subjects, in an idyllic and pathetic style. His works can be seen against the background of an incipient leisure society, they lead before the regional status objects of his home.

PICO CRISTOBAL COLON / CHUNDUAKE IN VINTAGE POSTCARD

VINTAGE POSTCARD 1939

Pico Cristóbal Colón / Chunduake  (5 ,775 m - 18, 947 ft) 

Colombia

The mountain
Pico Cristóbal Colón / Chunduake (5,775 m) is the highest point of Colombia and the Sierra Nevada of Santa Marta, probably in front of its neighbor, the Simón Bolívar peak. Because of its equatorial position, it is the fifth highest peak in the world by its height.. It is located about 70 kilometers southeast of Santa Marta, 130 kilometers east of Barranquilla and 700 kilometers north of Bogota, while the border with Venezuela passes 100 kilometers east-southeast . The coasts of the Caribbean Sea are less than 45 kilometers to the north. The altitude of the summit is uncertain, between 5,7003, 5,7304 and 5,775 meters above sea level, very near but probably higher than that of Simón Bolívar peak at 670 meters to the southwest. It is home to an icefield that has been in decline for fifty years.
It is named in homage to Christopher Columbus but among the Arhuacos, the summit is called Chunduake. It is the only one that has an indigenous name in the sierra, the main summits being collectively identified as Chundua (the "mountains" or "dwelling of the dead"), the throne of the god Kakarua Viku.
The first attempt to ascend the Cristóbal Colón peak in 1936 resulted in the death of the mountaineer Hans Lötscher after a fall in a crevasse, while he was accompanied by his compatriot Willy Weber. According to the sources, they are emigrants of German, Swiss or Austrian origin.
In 1939 Walter Wood, Anderson Bakerwell, and E. Praolini succeeded by the eastern edge of the first ascent of the summit, on the occasion of a cartographic expedition organized by the American Society of Geography and conducted by Thomas D. Cabot, 6. The second ascent was made by the Swiss couple Frédéric and Dorly Marmillod in February 1943.
In January 1957, Piero Ghiglione made the first ascent of the south face, alone.
The Cristóbal Colón peak has been protected since 1964 in the Santa Marta Sierra Nevada National Park, which covers 3,830 square kilometers.

MOUNT ROBSON BY LAWREN S. HARRIS

LAWREN S. HARRIS (1885-1970) 

Mount Robson (3,954 m - 12, 972 ft) 

Canada  (British Columbia)

The Mountain 

Mount Robson (3,954 m - 12, 972 ft) is the most prominent mountain in North America's Rocky Mountain range; it is also the highest point in the Canadian Rockies. The mountain is located entirely within Mount Robson Provincial Park of British Columbia, and is part of the Rainbow Range. Mount Robson is the second highest peak entirely in British Columbia, behind Mount Waddington in the Coast Range. The south face of Mount Robson is clearly visible from the Yellowhead Highway (Highway 16), and is commonly photographed along this route.

Mount Robson was likely named after Colin Robertson, who worked for both the North West Company and the Hudson’s Bay Company at various times in the early 19th century, though there was confusion over the name as many assumed it to have been named for John Robson, an early premier of British Columbia. The Texqakallt, a Secwepemc people and the earliest inhabitants of the area, call it Yuh-hai-has-kun (The Mountain of the Spiral Road). Other unofficial names include Cloud Cap Mountain.

In 1893, five years after the expedition of A.P. Coleman to Athabasca Pass and the final settling of the mistaken elevations of Mt. Hooker and Mt. Brown, Mt. Robson was first surveyed by James McEvoy and determined to be the highest peak in the Canadian Rockies.  The first documented ascent of Mount Robson, led by the young guide Conrad Kain, at its time the hardest ice face to be climbed on the continent, was achieved during the 1913 annual expedition organized by a large party of Alpine Club of Canada members who made use of the newly completed Grand Trunk Pacific railway to access the area. Prior to 1913, it had been necessary to approach the mountain by pack train from Edmonton or Laggan via Jasper and Lucerne, so only few intrepid explorers had made previous attempts at exploring the mountain. The most famous early ascensionist was the Reverend George Kinney, a founding member of the Alpine Club, who on his twelfth attempt in August 1909 claimed to have reached the summit with local outfitter Donald "Curly" Phillips. A major controversy over this claim and over the implausible nature of his unlikely and dangerous route dominated the discourse within the Alpine Club elite, and he is now generally presumed to have reached the high summit ridge before being turned back at the final ice dome of the peak. Kinney Lake, below the south face, is named in his honour.

The north face of Mount Robson is heavily glaciated and 800 m (2,600 ft) of ice extends from the summit to Berg Glacier.  The Berg glacier calves directly into the lake. The Robson Glacier, which fills the cirque and valley between Mount Robson and Mount Resplendent, in the early 1900s fed directly into both Berg lake and Adolphus lake, straddling the Continental Divide and draining thus to both the Arctic and Pacific oceans via the Smoky and Robson Rivers, respectively. It since has receded more than 2 kilometres and is the source of the Robson River only.

The painter 

Lawren Stewart Harris, (1885–1970) was a leading landscape canadian painter, imbuing his paintings with a spiritual dimension. An inspirer of other artists, he was a key figure in the Group of Seven and gave new vision to representations of the northern Canadian landscape. During the 1920s, Harris's works became more abstract and simplified, especially his stark landscapes of the Canadian north and Arctic.  He also stopped signing and dating his works so that people would judge his works on their own merit and not by the artist or when they were painted.

In 1924, a sketching trip with A.Y. Jackson to Jasper National Park in the Canadian Rockies marked the beginning of Harris' mountain subjects, which he continued to explore with annual sketching trips until 1929, exploring areas around Banff National Park, Yoho National Park and Mount Robson Provincial Park. In 1930, Harris went on his last extended sketching trip, travelling to the Arctic aboard the supply ship SS. Beothic for two months, during which time he completed over 50 sketches.  "We are on the fringe of the great North and its living whiteness, its loneliness and replenishment, its resignations and release, tis call and answer, its cleansing rhythms. It seems that the top of the continent is a source of spiritual flow that will ever shed clarity into the growing race of America."(Lawren S. Harris, 1926)

For Harris, art was to express spiritual values as well as to represent the visible world. North Shore, Lake Superior (1926), an image of a solitary weathered tree stump surrounded by an expanse of dramatically lit sky, effectively evokes the tension between the terrestrial and spiritual.

The resulting Arctic canvases that he developed from the oil panels marked the end of his landscape period, and from 1935 on, Harris enthusiastically embraced abstract painting. Several members of the Group of Seven later became members of the Canadian Group of Painters including Harris, A. J. Casson, Arthur Lismer, A. Y. Jackson, and Franklin Carmichael.

From 1934 to 1937, Harris lived in Hanover, New Hampshire, where he painted his first abstract works, a direction he would continue for the rest of his life. In 1938 he moved to Sante Fe, New Mexico, and helped found the Transcendental Painting Group, an organization of artists who advocated a spiritual form of abstraction.

In 1969, he was made a Companion of the Order of Canada.

Harris died in Vancouver in 1970, at the age of 84, as a well-known artist. He was buried on the grounds of the McMichael Canadian Art Collection, where his work is now held.

On November 26, 2015 his painting Mountain and Glacier was auctioned for $3.9 million at a Heffel Fine Art Auction House auction in Toronto, breaking the previous record for the sale of one of Harris's works.

In 2016 a film about Harris's life, Where the Universe Sings, was produced by TV Ontario. It was created by filmmaker Peter Raymont and directed by Nancy Lang.

EAST VIDETTE BY ANSEL ADAMS

ANSEL ADAMS (1902-1984) 

East Vidette (3,766m - 12 356ft) 

United States of America (California)

 In East Vidette Southern Sierra 1927, gelatin silver print 

from the portfolio Parmelian Prints of the High Sierras  

The Art Institute of Chicago 

The Mountain 

East Vidette ( 3,766m - 12 356ft)  is a striking peak in Sequoia-Kings Canyon National Park, just west of the Sierra Crest at the entrance to the Center Basin area. Along with West Vidette, the peak stands as a sentinel along the south side of Bubbs Creek guarding the canyon drained by Vidette Creek. East Vidette is a prominent landmark along the John Muir Trail and the PCT which run closely along its eastern and northern flanks. 

Many outstanding peaks in the center of SEKI NP can be viewed from the summit of East Vidette. The Kings-Kern Divide, with Junction Peak, Mt. Stanford, and Mt. Ericsson can be seen to the south, West Vidette and Deerhorn Mtn to the southwest across Vidette Canyon, Mt. Brewer, North Guard, and Mt. Francis Farquhar on the Great Western Divide to the west, Mt. Rixford, Mt Gould to the north, and University Peak, Mt. Bradley and Mt. Keith on the Sierra Crest to the east. The impressively serrated Kearsarge Pinnacles lie nearby directly across Bubbs Creek to the northeast. 

The peak was first climbed in 1910 by a Sierra Club party along the popular East Ridge. The East Ridge is class 3. The Southeast Chutes are class 2. The North Side is class 3-4, and a class 4 chute can be found on the west side facing Vidette Creek.

The East Ridge rises at a moderate angle from Bubbs Creek to the summit. The rock quality is fair to good. Navigation is easy as there are many variations and options available. This seems to be the most popular route used by most parties.

The photographer 
Ansel Easton Adams was an American photographer and environmentalist.
His black-and-white landscape photographs of the American West, especially Yosemite National Park, have been widely reproduced on calendars, posters, books, and the internet. Adams and Fred Archer developed the Zone System as a way to determine proper exposure and adjust the contrast of the final print. The resulting clarity and depth characterized his photographs. He primarily used large-format cameras because their high resolution helped ensure sharpness in his images. Adams founded the photography group known as Group f/64, along with fellow photographers Willard Van Dyke and Edward Weston and Imogen Cunningham.
In September 1941, Adams contracted with the Department of the Interior to make photographs of National Parks, Indian reservations, and other locations for use as mural-sized prints for decoration of the Department's new building. Part of his understanding with the Department was that he might also make photographs for his own use, using his own film and processing. Although Adams kept meticulous records of his travel and expenses, he was less disciplined about recording the dates of his images, and neglected to note the date of Moonrise, so it was not clear whether it belonged to Adams or to the U.S. Government. But the position of the moon allowed the image to eventually be dated from astronomical calculations, and it was determined that Moonrise was made on November 1, 1941, a day for which he had not billed the Department, so the image belonged to Adams. The same was not true for many of his other negatives, including The Tetons and the Snake River, which, having been made for the Mural Project, became the property of the U.S. Government.
When Edward Steichen formed his Naval Aviation Photographic Unit in early 1942, he wanted Adams to be a member, to build and direct a state-of-the-art darkroom and laboratory in Washington, D.C. In February 1942, Steichen asked Adams to join. Adams agreed, with two conditions: He wanted to be commissioned as an officer, and he also told Steichen he would not be available until July 1. Steichen, who wanted the team assembled as quickly as possible, passed Adams by, and had his other photographers ready to go by early April.
Adams was distressed by the Japanese American Internment that occurred after the Pearl Harbor attack. He requested permission to visit the Manzanar War Relocation Center in the Owens Valley, at the foot of Mount Williamson. The resulting photo-essay first appeared in a Museum of Modern Art exhibit, and later was published as Born Free and Equal: The Story of Loyal Japanese-Americans. He also contributed to the war effort by doing many photographic assignments for the military, including making prints of secret Japanese installations in the Aleutians. " It was met with some distressing resistance and was rejected by many as disloyal." Adams was the recipient of three Guggenheim fellowships during his career, the first in 1946 to photograph every National Park. This series of photographs produced memorable images of Old Faithful Geyser, Grand Teton (above), and Mount McKinley.
Romantic landscape artists Albert Bierstadt and Thomas Moran portrayed the Grand Canyon and Yosemite at the end of their reign, and were subsequently displaced by daredevil photographers Carleton Watkins, Eadweard Muybridge, and George Fiske.  But it was Adams's black-and-white photographs of the West which became the foremost record of what many of the National Parks were like before tourism, and his persistent advocacy helped expand the National Park system. He used his works to promote many of the goals of the Sierra Club and of the nascent environmental movement, but always insisted that, as far as his photographs were concerned, "beauty comes first". His images are still very popular in calendars, posters, and books. Realistic about development and the subsequent loss of habitat, Adams advocated for balanced growth, but was pained by the ravages of "progress". He stated, "We all know the tragedy of the dustbowls, the cruel unforgivable erosions of the soil, the depletion of fish or game, and the shrinking of the noble forests. And we know that such catastrophes shrivel the spirit of the people... The wilderness is pushed back, man is everywhere. Solitude, so vital to the individual man, is almost nowhere."
In 1966 he was elected a fellow of the American Academy of Arts and Sciences. In 1980 Jimmy Carter awarded him the Presidential Medal of Freedom, the nation's highest civilian honor.
Adams's photograph The Tetons and the Snake River was one of the 115 images recorded on the Voyager Golden Record aboard the Voyager spacecraft. These images were selected to convey information about humans, plants and animals, and geological features of the Earth to a possible alien civilization.

SEORITSU FARRA (ON VENUS) BY NASA MAGELLAN MISSION

NASA MAGELLAN MISSION  (1989-1994)

Seoritsu Farra ( 750m - 2,475 ft)

Venus 

The mountain 

In the first image: the eastern edge of Alpha Regio is shown centered at 30 degrees south latitude and 11.8 degrees east longitude (longitude on Venus is measured from 0 degrees to 360 degrees east). Seven circular, dome-like hills, averaging 25 kilometers (15 miles) in diameter with maximum heights of 750 meters (2,475 feet) dominate the scene. These features are interpreted as very thick lava flows that came from an opening on the relatively level ground, which allowed the lava to flow in an even pattern outward from the opening. The complex fractures on top of the domes suggest that if the domes were created by lava flows, a cooled outer layer formed and then further lava flowing in the interior stretched the surface. The domes may be similar to volcanic domes on Earth. Another interpretation is that the domes are the result of molten rock or magma in the interior that pushed the surface layer upward. The near-surface magma then withdrew to deeper levels, causing the collapse and fracturing of the dome surface. The bright margins possibly indicate the presence of rock debris on the slopes of the domes. Some of the fractures on the plains cut through the domes, while others appear to be covered by the domes. This indicates that active processes pre date and post date the dome-like hills. The prominent black area in the northeast corner of the image is a data gap. North is at the top of the image.

In the second image:  a portion of the eastern edge of Alpha Regio is displayed in this three-dimensional perspective view of the surface of Venus. The viewpoint is located at approximately 30 degrees south latitude, 11.8 degrees east longitude at an elevation of 2.4 kilometers (3.8 miles). The view is to the northeast at the center of an area containing seven circular dome-like hills. The average diameter of the hills is 25 kilometers (15 miles) with maximum heights of 750 meters (2,475 feet). Three of the hills are visible in the center of the image. Fractures on the surrounding plains are both older and younger than the domes. The hills may be the result of viscous or thick eruptions of lava coming from a vent on the relatively level ground, allowing the lava to flow in an even lateral pattern. The concentric and radial fracture patterns on their surfaces suggests that a chilled outer layer formed, then further intrusion in the interior stretched the surface. An alternative interpretation is that domes are the result of shallow intrusions of molten lava, causing the surface to rise. If they are intrusive, then magma withdrawal near the end of the eruptions produced the fractures. The bright margins possibly indicate the presence of rock debris or talus at the slopes of the domes. Resolution of the Magellan data is about 120 meters (400 feet). Magellan's synthetic aperture radar is combined with radar altimetry to develop a three-dimensional map of the surface. A perspective view is then generated from the map. Simulated color and a process called radar-clinometry are used to enhance small-scale structures. The simulated hues are based on color images recorded by the Soviet Venera 13 and 14 spacecraft. 

The images were produced by the JPL Multimission Image Processing Laboratory by Eric De Jong, Jeff Hall, Myche McAuley, and Randy Kirk of the United States Geological Survey, and is a single frame from the movie released at the May 29, 1991 Magellan news conference.

THE ZUGSPITZE PAINTED BY CARL ROTTMANN

CARL ROTTMANN (1797-1850)  

 Die Zugspitze  (2, 962 m- 9, 718 ft) 

Germany 

In View of the Eibsee, 1825, oil on canvas,  Neue Pinakothek, Munchen

The mountain 
The Zugspitze (2,962m -9,718 ft) above sea level, is the highest peak of the Wetterstein Mountains as well as the highest mountain in Germany. It lies south of the town of Garmisch-Partenkirchen, and the border between Germany and Austria runs over its western summit. South of the mountain is the Zugspitzplatt, a high karst plateau with numerous caves. On the flanks of the Zugspitze are three glaciers, including the two largest in Germany: the Northern Schneeferner with an area of 30.7 hectares and the Höllentalferner with an area of 24.7 hectares. The third is the Southern Schneeferner which covers 8.4 hectares.
The Zugspitze was first climbed on 27 August 1820 by Josef Naus, his survey assistant, Maier, and mountain guide, Johann Georg Tauschl. Today there are three normal routes to the summit: one from the Höllental valley to the northeast; another out of the Reintal valley to the southeast; and the third from the west over the Austrian Cirque (Österreichische Schneekar). One of the best known ridge routes in the Eastern Alps runs along the knife-edged Jubilee Ridge (Jubiläumsgrat) to the summit, linking the Zugspitze, the Hochblassen and the Alpspitze. For mountaineers there is plenty of nearby accommodation. On the western summit of the Zugspitze itself is the Münchner Haus and on the western slopes is the Wiener-Neustädter Hut.
Three cable cars run to the top of the Zugspitze. The first, the Tyrolean Zugspitze Cable Car, was built in 1926 and terminated on an arête below the summit before the terminus was moved to the actual summit in 1991. A rack railway, the Bavarian Zugspitze Railway, runs inside the northern flank of the mountain and ends on the Zugspitzplatt, from where a second cable car takes passengers to the top. The rack railway and the Eibsee Cable Car, the third cableway, transport an average of 500,000 people to the summit each year. In winter, nine ski lifts cover the ski area on the Zugspitzplatt. The weather station, opened in 1900, and the research station in the Schneefernerhaus are mainly used to conduct climate research.
At the Zugspitze's summit is the Münchner Haus, a mountain hut (Alpenhütte), a facility built by the German Alpine Club (Deutscher Alpenverein). For more than a hundred years, the summit has also had a weather station, which nowadays also gathers data for the Global Atmosphere Watch.
Climbing up the Zugspitze can involve several routes. The large difference in elevation between Garmisch-Partenkirchen and the summit is 2,200 m (7,200 ft), making the climb a challenge even for trained mountaineers.

The painter 
Carl Anton Joseph Rottmann was a German landscape painter and the most famous member of the Rottmann family of painters. Rottmann belonged to the circle of artists around the Ludwig I of Bavaria, who commissioned large landscape paintings exclusively from him. He is best known for mythical and heroising landscapes. The landscape painter Karl Lindemann-Frommel belonged to his school. Rottmann  received his first drawing lessons from his father, Friedrich Rottmann, who taught drawing at the university in Heidelberg. He formed himself chiefly through the study of nature and of great masterworks. In his first artistic period, he painted atmospheric phenomena. After gaining prominence with Heidelberg at Sunset (a water color), and Castle Eltz, he settled in Munich in 1822 and devoted himself to Bavarian scenery. Here his second period began, and in 1824 he married Friedericke, the daughter of his uncle, Friedrich Ludwig von Sckell, who served as an attendant at court. Through this connection, he made the acquaintance of King Ludwig I of Bavaria, who in 1826/27 sponsored his travels in Italy in order to widen his repertoire, which up to that point consisted solely of domestic, German, landscapes. In Italy, Rottmann made sketches for the 28 Italian landscapes in fresco which he was commissioned to paint in the arcades of the Hofgarten at Munich. The cycle, completed in 1833, gave visual expression to Ludwig’s alliance with Italy, and raised the genre of landscape painting to the height of history painting, the preferred mode of the King’s other great commissions for monumental painting. The frescos unfortunately deteriorated under climatic influences. The cartoons for them are in the Darmstadt Gallery.
In 1834 Rottmann traveled to Greece to prepare for a commission from Ludwig for a second cycle; one might mark here the beginning of his third period. At first also intended for the Hofgarten arcade, the 23 great landscapes were eventually installed in the newly built Neue Pinakothek where they were given their own hall.

MOUNT LISTER AND ROYAL SOCIETY RANGE BY DAVID ROSENTHAL

DAVID ROSENTHAL (bn. 1953),

Mount Lister and Royal Society Range  (4,205 m - 13,205 ft)  

Antarctica (Victoria Land)

In Royal Society Range in Sunset, oil on canvas. 

The mountain
Mount Lister  (4,205 m - 13,205 ft)  forms the highest point in The Royal Society Range (coordinates 78°10′S 162°40′E), a majestic mountain range in Victoria Land, Antarctica. Mount Lister is located along the western shore of McMurdo Sound between the Koettlitz, Skelton and Ferrar glaciers. Other notable local terrain features include Allison Glacier, which descends from the west slopes of the Royal Society Range into Skelton Glacier.  The range was probably first seen by Captain James Clark Ross in 1841.
The range was explored by the British National Antarctic Expedition (BrNAE) under Robert Falcon Scott, who named the range after the Royal Society and applied names of its members to many of its peaks. For example, Mount Lister was named for Lord Joseph Lister, President of the Royal Society, 1895-1900.  The Royal Society provided financial support to the expedition and its members had assisted on the committee which organized the expedition.
The Royal Society Range contains over 50 basaltic vents, ranging in size from tiny mounds to cinder cones up to 300 meters (985 feet) high. Dating of surface material indicates they were active earlier than 15 million years ago (e.g. Heald Island) and as recently as 80,000 years ago, with glacier-bound tephra layers suggesting even more recent Holocene activity. The vast majority of vents are located in the foothills of the Royal Society mountains just north of Koettlitz Glacier, and most are Quaternary in age. Most emanating flows are 3–10 meters thick and less than 4 kilometers long. The composition, with very few exceptions, is porphyritic basanite with primarily olivine and clinopyroxene phenocrysts, though some phenocrystic plagioclase is also present.
The Royal Society Range consists of a Precambrian igneous and meta-igneous basement complex overlain by Devonian- to Triassic-age sandstones, siltstones and conglomerates of the Beacon Supergroup which dip shallowly westward away from the Ross Sea coast. The entire region is cut by north-south trending longitudinal faults, east-west trending transverse faults, and structurally related dike swarms.

The Painter 
David Rosenthal is known as an Antarctic Painter, Painter of Ice, Arctic Artist, Alaskan Artist and an Extreme Artist. He has been lured to cold climates regularly to record snow, ice, and landscapes. Davids paintings of glaciers and icebergs are astoundingly realistic and at the same ethereal at the same time. However his work also includes much more than ice, icebergs and glaciers... Cordova, Alaska is the place David Rosenthal calls home. As an artist and art teacher David has taught and continues to teach many students in Alaska. While teaching art in Alaska, David has instructed students and artist in many programs including the Alaska Artists in the Schools Program, Prince William Sound Community College and University of Alaska Fairbanks Summer Sessions. Alaskan artist David Rosenthal makes it a priority to travel around Alaska as much as possible to continue to capture the incredible beauty in his artwork of Alaska.
Having spent over sixty months on the Ice, including four austral winters and six austral summers, David became an Antarctic artist and has created art images from a large variety of places in every season. David has completed paintings of the antarctic landscape from all across Antarctica. Time in Antarctica included travel as a participant in the National Science Foundation Antarctic Artists and Writers Program during a summer and a winter at McMurdo Station as well as most of a winter at Palmer Station. David has also worked for the NSF contractor for two winters and four summers in various job capacities as a way to spend time and become familiar with the landscape.
Rosenthal's work also includes many water colors, oil paintings, sketches and small studies. The paintings seem to magically reflect the intensity of nature's colors and the atmospheric phenomena that David witnesses. David really is a master of Extreme Art!
_______________________________
2017 - Wandering Vertexes...
by Francis Rousseau

MOUNT CAMEROON / FAKO IN STAMPS

VINTAGE STAMPS (1972, 1983) 

Mount Cameroon or Fako  (4, 040 m - 13,250 ft) 

Cameroon 

1 In Mont Cameroun en Eruption, 1983 Stamp 70F designed by Louis-Marie Lemana for 

République Unie du Cameroun 

2. In Mont Cameroun et Fleuve Wouri, 1972 Stamp 40F designed by P. Lambert for 

 République Fédérale du Cameroun

 Courtesy mountainstamp.com

The mountain 

Mount Cameroon (4, 040 m - 13,250 ft) is an active volcano in Cameroon near the Gulf of Guinea (Africa). Mount Cameroon is also known as Cameroon Mountain or Fako (the name of the higher of its two peaks) or by its native name Mongo ma Ndemi ("Mountain of Greatness"). It is the highest point in sub-Saharan western and central Africa,  the fourth most prominent peak in Africa and the 31st most prominent in the world. It rises from the coast through tropical rainforest to a bare summit which is cold, windy, and occasionally dusted with snow. 

The mountain is part of the area of volcanic activity known as the Cameroon Volcanic Line, which also includes Lake Nyos. More than 100 small cinder cones, often fissure-controlled parallel to the long axis of the massive 1,400-cubic-kilometre (336 cu mi) volcano, occur on the flanks and surrounding lowlands. A large satellitic peak, Etinde (also known as Little Mount Cameroon), is located on the southern flank near the coast. 

Mount Cameroon has the most frequent eruptions of any West African volcano. 

The first written account of volcanic activity could be the one from the Carthaginian Hanno the Navigator, who might have observed the mountain in the 5th century BC. Moderate explosive and effusive eruptions have occurred throughout history from both summit and flank vents. A 1922 eruption on the southwestern flank produced a lava flow that reached the Atlantic coast, and a lava flow from a 1999 south-flank eruption stopped only 200 m (660 ft) from the sea, cutting the coastal highway.  The most recent eruption occurred on February 3, 2012.

English explorer Mary Kingsley, was one of the first Europeans to scale the mountain in 1897.

The peak is frequently ascended by hikers. The annual Mount Cameroon Race of Hope scales the peak in around 4½ hours. Sarah Etonge, who has won the race seven times and is also a tour operator, has become known as queen of the mountain.

Vintage Stamps in Cameroon 
After being colonized by British and by French, Cameroon Became independent in 1960.
The independent Cameroon has issued stamps from 1960 – the first set commemorating independence. After the establishment of the federal republic, when the Southern Cameroons join Cameroon, stamps of Cameroon are, in 1961, overprinted ‘République Federale’ and a face value in the British currency for specific use in the Southern Cameroons. A set inscribed ‘République Federale’ and surcharged in the British currency is issued on 1 January 1962. Subsequent issues are in Cameroon CFA Franc currency only. Since independence, Cameroon has had a modest issuing policy with many issues with themes of national interest and a limited number of issues aimed at the topical collectors market.
General issues about Cameroon Stamps :
- German protectorate (1897-1919)
- French mandated territory (1921-1946)
- French trust territory (1946-1957)
- French trust territory, self government (1957-1960),
- Republic (1960-1961)
- Federal republic of Cameroon (1961-1972)
- United republic (1972-1984)
-  Republic  (984 - Present)

ZHANGYE DANXIA / RAINBOW MOUNTAINS IN VINTAGE POSTCARD 1970

VINTAGE POSTCARD 1970

Zhangye Danxia / Rainbow Mountains (1,500 to 2,500 m - 4,921 to 8202 ft)

 China 

The mountains 

Zhangye Danxia (1,500 to 2,500 m - 4,921 to 8202 ft) is known for the unusual colours of the rocks, which are smooth and sharp. Like in alt the others parts of the world where this kind of so called rainbow Mountain can be found, they are the result of deposits of sandstone and other minerals that occurred over 24 million years.  In the case of the Zhangye Danxia, the result, similar to a layer cake, is connected to the action of the same tectonic plates responsible for creating parts of the Himalayan mountains. Wind, rain, and time then sculpted extraordinary shapes, including towers, pillars, and ravines, with varying colours, patterns, and sizes.

Zhangye Danxia is located inside The Gansu Zhangye National Geopark (甘肃张掖国家地质公园), in Sunan and Linze counties within the prefecture-level city of Zhangye,in the northern foothills of the Qilian Mountains (祁连山). It covers an area of 322 square kilometres (124 sq mi). The site became a quasi-national geopark on April 23, 2012 . It was formally designated as ″Gansu Zhangye National Geopark″ by the Ministry of Land and Resources on June 16, 2016 after it has passed the on-site acceptance test. Known for its colorful rock formations, it has been voted by Chinese media outlets as one of the most beautiful landforms in China.

The core area of the park, Linze Danxia Scenic Area, is located 30 kilometres (19 mi) west of downtown Zhangye and 20 kilometres (12 mi) south of the seat of Linze County. It is the most developed and most visited part of the park. A second scenic area, Binggou (冰沟), located on the north bank of Liyuan River (梨园河), was officially inaugurated on 3 August 2014. 

In 2005, Zhangye Danxia was voted by a panel of reporters from 34 major media outlets as one of the most beautiful Danxia landform areas in China. In 2009, Chinese National Geography magazine chose Zhangye Danxia as one of the "six most beautiful landforms" in China.  The area has become a top tourist attraction for Zhangye. A series of boardwalks and access roads have been built to help visitors to explore the rock formations.  In 2014, 100 million yuan was invested to improve the facilities in the Binggou area.

THORPE CLOUD BY FRANÇOIS VIVARES

FRANÇOIS VIVARES (1708-1780) 

Thorpe Cloud (287 m - 942 ft)  

United Kingdom (England)

The Hill 

Thorpe Cloud  (287m - 942ft)  is an isolated limestone hill (a reef knoll) lying between the villages of Thorpe and Ilam on the Derbyshire/Staffordshire border at the southern end of Dovedale. It is a popular hill amongst the many day-trippers who visit the area, and provides a fine viewpoint north up the dale and south across the Midland plain.

Like much of the dale, including Bunster Hill on the opposite bank, it is in the ownership of the National Trust, and is part of their South Peak Estate. These Dovedale properties were acquired by the Trust in 1934. In 1997, the writer Jeff Kent discovered that a double sunset could be seen against Thorpe Cloud from the top of nearby Lin Dale and, two years later, the phenomenon was first captured on film by the photographer Chris Doherty. The occurrence is visible in good weather on and around the summer solstice and perhaps beyond, when the sun sets on the summit of the hill, partially reappears from its steep northern slope and sets for a second and final time shortly afterwards. The precise event and its location are described in Kent's book The Mysterious Double Sunset. Thorpe Cloud and Dovedale were used as locations in the 2010 film of Robin Hood, starring Russell Crowe. Thorpe Cloud can be clearly made out in several scenes towards the end of the film.

Thorpe Cloud also has a rifle range which local and national shooting clubs use.

The artist

François Vivares was a French landscape-engraver, active in England. He was born in France at Saint-Jean-du-Bruel, near Montpellier, and brought up in Geneva. At the age of 18 he moved permanently to London. He took on Peter Paul Benazech as apprentice in 1746. Vivares exhibited engravings with the Incorporated Society of Artists in 1766 and 1768. During the last thirty years of his life he resided in Great Newport Street, central London, where he kept a print-shop. There he died on 28 November 1780, and was buried in Paddington churchyard. He was three times married, and had 31 children. His son Thomas Vivares also worked as an engraver.

His plates number about 160, and were largely published by John Boydell. Many were from the old masters: Claude, Poussin, Il Bolognese, Vanderneer and Cuyp; but a large proportion of them are views of English scenery after Thomas Gainsborough, Wootton, Thomas Smith of Derby, the Smiths of Chichester, and others. Claude's Enchanted Castle he left unfinished at his death, and it was completed by William Woollett.

AÏDOUR / SANTA CRUZ PAINTED BY AUGUSTIN FERRANDO

AUGUSTIN FERRANDO  (1880-1957)

Aïdour / Santa Cruz (589m - 1932 ft) 

Algeria

In La baie d 'Oran et l'Aïdour, 1922, oil on cardboard, Private collection   

The Mountain 

The Aïdour (589m - 1932 ft)  also known under the name of Santa Cruz is a mountain  which dominates the city of Oran in Algeria. Several buildings are built at the top of the mountain, including a fortress and the well known christian chapel of Santa Cruz. 

This mountain is known by a number of toponyms, and especially its eastern end which dominates the city of Oran by a plateau and a steep hill separated by a small pass. This small coastal chain located to the west of the city of Oran, develops for a distance of about 25 km in a direction west-south-west, east-northeast. It ends at the sea in its eastern end by the Djebel Santon and the hill of Santa Cruz which enclose the bay of Mers el-Kebir. It dominates in the north the small coastal plain going from the Andalusians to the jebel Santon, and to the south the plain bordering the great Sebkha of Oran (salt lake) from Boutlelis to Oran.

From the 12th century this mountain is known as Aïdour, a name reported by Arab chroniclers. An even more ancient name is reported by other chroniclers: Mount Guedera or Guedara. Later the Turks called him Mourdjadjo. The Spaniards name the hill "La Silla" (the saddle). The name of concurrent use of the Aïdour is then Santa Cruz for the hill, and Murdjadjo for the plateau.

The Phoenicians had chosen Madagh Creek in the west to set up their trading posts, but the Romans preferred to develop the site of Portus Magnus 40 kilometers to the east on the present town of Bethioua. In the 15th century, during the Islamic period, a mausoleum (gubba) was erected on the eastern end of the plateau which dominates Oran, and dedicated to Abdelkader al-Jilani, prefessor and  eminent imam buried in Baghdad. The story goes that in 1425, one of the disciples of Abou Madyane, Tlemcen's famous saint, died suddenly before reaching the wadi and his disciples then installed small mausoleums in memory of his teacher Abdelkader al-Jilani. It is therefore not a tomb but a cenotaph.

In 1805, when Spain occupied Oran, the Marquis de Santa Cruz, governor of the city, decided in 1563 to build the fort of Santa Cruz on the rocky spur of Aïdour. His position was strategic for the defense of Oran and Mers El Kebir.
The chapel of Santa Cruz was built in 1850, after the terrible cholera epidemic of 1849, which had caused several hundred victims a day. It is dedicated to Our Lady of Salvation. In 1950, during the french colonisation, the construction project of the architect Lesaint was opened, with a cloister and a small Romane basilica with a slightly crushed dome, in the presence of Bishop Roncalli, apostolic nuncio, and future Pope John XXIII. The old chapel at the foot of the bell tower was demolished in 1951 at the beginning of the construction of the cloister, which ended in 1956.

 Source : 

 ©wanderingvertexes.blogspot.com

The Painter 

Augustin Jean Ferrando is a French orientalist painter born in Algeria in 1880 then French department. A student of the school of fine arts of Algiers in 1898, then of the Academy Druet and Rochegrosse, formerly of the school of the fine arts of Paris, with Fernand Cormon (1845-1924), he meets in Paris Derain, Matisse, Leger, Vlaminck, Utrillo. Ferrando, considered the only fawn painter from Algeria, and the representative of the Algiers School, obtained several vermilion medals (at the exhibitions of the Orientalist artists' society). It was mobilized in 1914 among the Zouaves of Algiers until 1918. He was appointed director of the Oran School of Fine Arts, founder of the Association of African Artists, and became curator of the Demaeght Museum in 1935. He worked in Oued Taria, where his second wife was born.
He has made numerous exhibitions in Algiers (Galerie Charlet), Oran (Galerie Pozzalo and Galerie Pasteur), Paris (Palais de New York),  The Biennale de Menton, Musée Rolin d'Autun in 1977, Boulogne-Billancourt in 1990, Versailles and Paris in 1992, and in the exhibition  Albert Marquet and his friends, July 2008,  at the Cultural center of Saint-Raphaël (France).
Source : 
 ©wanderingvertexes.blogspot.com

MOUNT BANAHAW (2) BY FERNANDO AMORSOLO

FERNANDO AMORSOLO (1882-1972),

Mount Banahaw (2, 170m- 7, 120 ft) 

Philippines (Luzon)

 In Afternoon meal of the rice workers with Mount Banaho de Luchan, Private collection 

The mountain

Mount Banahaw (2, 170m- 7, 120 ft) is an active volcano on Luzon in the Philippines. The three-peaked volcano complex is located between the provinces of Laguna and Quezon and is the tallest mountain in the Calabarzon region dominating the landscape for miles around. 

Mount Banahaw is a traditional pilgrimage site for locals, believed by many as a "Holy mountain", a spiritually-charged location. The mountain and its environs are considered sacred by local residents; the water from its sacred springs are deemed "holy water" for allegedly having beneficial qualities, issuing forth from locations called "puestos" or "holy sites". These sites are unique natural features composed not only of springs, but also caves, streams and boulders; with names with biblical allusions, and shrines erected in, on or around them. These locations were allegedly revealed to a man named Agripino Lontoc by the "Santong Boses" or the "Holy Voices", which also gave the names to these places way back during the Spanish Colonial Era. Another one of this mountain is the adjacent Mount Banahaw de Lucbán.

Due to incessant climbing activity the mountain trails have become littered with trash. In March 2004, the Department of Environment and Natural Resources ordered a 5-year suspension of hiking activity in the mountains, covering the Dolores and Sariaya trails. Reopening was delayed was then scheduled to March 2012, but was further extended to February 2015.

The painter 
Fernando Cueto Amorsolo was one of the most important artists in the history of painting in the Philippines.Amorsolo was a portraitist and painter of rural Philippine landscapes. He is popularly known for his craftsmanship and mastery in the use of light. After graduating from the Univeajor influences on his work. Amorsolo set up his own studio upon his return to Manila and painted prodigiously during the 1920s and the 1930s. His Rice Planting (1922), which appeared on posters and tourist brochures, became one of the most popular images of the Commonwealth of the Philippines. Beginning in the 1930s, Amorsolo's work was exhibited widely both in the Philippines and abroad. His bright,optimistic, pastoral images set the tone for Philippine painting before World War II . Except for his darker World War II-era paintings, Amorsolo painted quiet and peaceful scenes throughout his career.

Amorsolo was sought after by influential Filipinos including Luis Araneta, Antonio Araneta and Jorge B. Vargas. Amorsolo also became the favourite Philippine artist of United States officials and visitors to the country. Due to his popularity, Amorsolo had to resort to photographing his works and pasted and mounted them in an album. Prospective patrons could then choose from this catalog of his works. Amorsolo did not create exact replicas of his trademark themes; he recreated the paintings by varying some elements.

His works later appeared on the cover and pages of children textbooks, in novels, in commercial designs, in cartoons and illustrations for the Philippine publications such The Independent, Philippine Magazine, Telembang, El Renacimiento Filipino, and Excelsior. He was the director of the University of the Philippine's College of Fine Arts from 1938 to 1952.

During the 1950s until his death in 1972, Amorsolo averaged to finishing 10 paintings a month. However, during his later years, diabetes, cataracts, arthritis, headaches, dizziness and the death of two sons affected the execution of his works. Amorsolo underwent a cataract operation when he was 70 years old, a surgery that did not impede him from drawing and painting.

After being confined at the St. Luke's Hospital in Quezon City for two months, Amorsolo died  at the age of 79 on April 24, 1972. The volume of paintings, sketches and studies of Amorsolo is believed to have reached more than 10,000 pieces. Amorsolo was an important influence on contemporary Filipino art and artists, even beyond the so-called "Amorsolo school." Amorsolo's influence can be seen in many landscape paintings by Filipino artists, including early landscape paintings by abstract painter Federico Aguilar Alcuaz.

In 2003, Amorsolo's children founded the Fernando C. Amorsolo Art Foundation, which is dedicated to preserving Fernando Amorsolo's legacy, promoting his style and vision, and preserving a national heritage through the conservation and promotion of his works.

Sources

 - Fernando Amorsolo foundation web site 

2017 - Wandering Vertexes...
by Francis Rousseau 

FUJIYAMA / 富士山 BY HOKUSAI

 KATSUSHIKA HOKUSAI (1760–1849) 

Fujiyama / 富士山  (3, 776 m -12,389 ft)

Japan

The Big wave from 100 views of the Fuji, color block print, last series, 2nd volume, 1834.

About this print

 It is a mirrored version of the famous Great wave of Kanagawa   from the 36 views of the Fuji.
There are no boats and the wave crests are birds flying to the Mount Fuji.

The artist
Katsushika Hokusai (葛飾 北斎)  was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He was influenced by such painters as Sesshu, and other styles of Chinese painting. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 c. 1831) which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s.
Hokusai created the "Thirty-Six Views of Mt Fuji " both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. In this series, Mt Fuji is painted on different meteorological conditions, in different hours of the days, in different seasons and from different places.

The mountain 
This is the legendary Mount Fuji or Fujiyama (富士山).
It is located on Honshu Island and is the highest mountain peak in Japan at 3,776.24 m (12,389 ft). Several names are attributed to it:  "Fuji-san", "Fujiyama" or, redundantly, "Mt. Fujiyama". Usually Japanese speakers refer to the mountain as "Fuji-san".  The other Japanese names for Mount Fuji,  have become obsolete or poetic like: Fuji-no-Yama (ふじの山 - The Mountain of Fuji), Fuji-no-Takane (ふじの高嶺- The High Peak of Fuji), Fuyō-hō (芙蓉峰 - The Lotus Peak), and Fugaku (富岳／富嶽), created by combining the first character of 富士, Fuji, and 岳, mountain.
Mount Fuji is an active stratovolcano that last erupted in 1707–08. Mount Fuji lies about 100 kilometres (60 mi) south-west of Tokyo, and can be seen from there on a clear day.
Mount Fuji's exceptionally symmetrical cone, which is snow-capped several months a year, is a well-known symbol of Japan and it is frequently depicted in art and photographs, as well as visited by sightseers and climbers.
Mount Fuji is one of Japan's Three Holy Mountains (三霊山) along with Mount Tate and Mount Haku. It is also a Special Place of Scenic Beauty and one of Japan's Historic Sites.
It was added to the World Heritage List as a Cultural Site on June 22, 2013. As per UNESCO, Mount Fuji has “inspired artists and poets and been the object of pilgrimage for centuries”. UNESCO recognizes 25 sites of cultural interest within the Mt. Fuji locality. These 25 locations include the mountain itself, Fujisan Hongū Sengen Shrine and six other Sengen shrines, two lodging houses, Lake Yamanaka, Lake Kawaguchi, the eight Oshino Hakkai hot springs, two lava tree molds, the remains of the Fuji-kō cult in the Hitoana cave, Shiraito Falls, and Miho no Matsubara pine tree grove; while on the low alps of Mount Fuji lies the Taisekiji temple complex, where the central base headquarters of Nichiren Shoshu Buddhism is located.

SERRA DOS ORGAOS BY JOHANN MORITZ RUGENDAS

JOHANN MORITZ RUGENDAS (1802-1858)

Serra dos Orgaos: 

Pedra do Sino (2,263m- 7,425 ft)

Dedo de Deus (1,682m - 5,551ft) 

Escalavrado  (1,490m -4,890 ft) 

Brazil

 In Serra dos Orgaos, 1820, engraving, Centro de documentaçao D. Joaoa VI, Brazil

The mountains 

Pedra do Sino (Bell Rock) at 2,263 metres (7,425 ft),  Dedo de Deus (God's finger) at 1,682m (5,551ft) and  Escalavrado at 1,692 m (5,551 ft) are the highest  peaks int the Serra dos Órgãos  (Organ Range), a mountain range located in the state of Rio de Janeiro, Brazil and containing the Serra dos Órgãos National Park. The peaks with steep rock walls are dramatic features that can be seen on a clear day from Rio de Janeiro, which is 50 kilometres (31 mi) distant. The Serra dos Órgãos cover san area of 20,024 hectares (49,480 acres). The range is an escarpment on the northern edge of the Guanabara Graben between the cities of Petropolis and Teresopolis. The name comes from perceived resemblance of the vertical rock formations created by erosion to the tubes of organs.

A north west fracture is exposed at the plateau's rock surfaces, which defines the direction of the ridges and valleys along the escarpment. One of these ridges contains several granite peaks including God's Finger. Formation of the rocks may have occurred around 620 million years ago. North east vertical fractures, spaced regularly about every 500 m (1,600 ft), cut the north west structures at right angles. Erosion along these fractures has isolated the massive rock blocks. The valleys have well-preserved deposits of debris that has fallen from the rock walls. In November 1981 a period of intense rain triggered hundreds of shallow landslides and flows of debris that blocked the BR-116 highway and killed about 20 people.

The painter 

Johann Moritz Rugendas was a German painter, famous for his works depicting landscapes and ethnographic subjects in several countries in the Americas, in the first half of the 19th century. Rugendas is considered "by far the most varied and important of the European artists to visit Latin America." whom Alexander von Humboldt influenced.  

Rugendas was born in Augsburg, then Holy Roman Empire, now Germany, into the seventh generation of a family of noted painters and engravers of Augsburg, the great grandson of Georg Philipp Rugendas, 1666–1742, a famous painter of battles.  Inspired by the artistic work of Thomas Ender (1793–1875) and the travel accounts in the tropics by German naturalists Johann Baptist von Spix (1781–1826) and Carl von Martius (1794–1868), in the course of the Austrian Brazil Expedition, Rugendas arrived in Brazil in 1821. There he was soon hired as an illustrator for Baron von Langsdorff's scientific expedition to Minas Gerais and São Paulo. Consul-general of the Russian Empire in Brazil, Langsdorff had a farm in the northern region of Rio de Janeiro, where Rugendas went to live with other members of the expedition. Rugendas visited the Serra da Mantiqueira and the historical towns of Barbacena, São João del Rei, Mariana, Ouro Preto, Caeté, Sabará and Santa Luzia. Just before the fluvial phase of the expedition started (a fateful journey to the Amazon), he became alienated from von Langsdorff, left the expedition and was replaced by the artists Adrien Taunay and Hércules Florence. However, he remained on his own in Brazil until 1825, exploring and recording his many impressions of daily life in the provinces of Mato Grosso, Pernambuco, Bahia, Espírito Santo and Rio de Janeiro. He produced mostly drawings and watercolors.
- More about Johann Moritz Rugandas

SINAÏ / JABAL MUSA BY JOHN MARTIN

JOHN MARTIN (1789-1854)

Mount Sinaï or Jabal Musa (2, 285 m - 7, 496 ft) 

Egypt

  In The flight into Egypt, oil on canvas, The MET  

The mountain 

Mount Sinaï (2,285 m - 7,496 ft) or Jabal Mūsā or Gabal Mūsā (in arab: "Moses' Mountain" or "Mount Moses"), also known as Mount Horeb or Jebel Musa (a similarly named mountain in Morocco), is a mountain in the Sinai Peninsula of Egypt that is a possible location of the biblical Mount Sinai.  The latter is mentioned many times in the Book of Exodus (and other books of the Bible) and the Quran. According to Jewish, Christian, and Islamic tradition, the biblical Mount Sinai was the place where Moses received the Ten Commandments. It is the reason it is a Sacred mountain for Jewish and Christian. 

Saint Catherine's Monastery - visible on the painting  above on the right side of the Holy family -  is officially called "Sacred Monastery of the God-Trodden Mount Sinai"  and lies on the Sinai Peninsula, at the mouth of a gorge, at the foot of Mount Sinai, in the city of Saint Catherine, South Sinai Governorate, Egypt. The monastery is controlled by the autonomous Church of Sinai, part of the wider Eastern Orthodox Church, and is a UNESCO World Heritage Site. Built between 548 and 565, the monastery is one of the oldest working Christian monasteries in the world. The site contains the world's oldest continually operating library, possessing many unique books including the Syriac Sinaiticus and, until 1859, the Codex Sinaiticus. A small town with hotels and swimming pools, called Saint Katherine City, has grown around the monastery.

Sources : 

- More about Mont Sinaï 

The Painter 

John Martin was an English Romantic painter, engraver and illustrator. He was celebrated for his typically vast and melodramatic paintings of religious subjects and fantastic compositions, populated with minute figures placed in imposing landscapes. Martin's paintings, and the engravings made from them, enjoyed great success with the general public—in 1821 Lawrence referred to him as "the most popular painter of his day"—but were lambasted by Ruskin and other critics.

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