Unknown mountain
badgerbrockhurst
An art gallery has sent me a picture of a mountain that they want
identifying. I've posted it at http://www.walkingenglishman.com/unknownmountain.html
I think it is Snowdon from the Miner's Track. Any ideas? Thanks.
T Dave R
newyddion:1172084902.7...@a75g2000cwd.googlegroups.com...
Looks like a part of Snowdon. Could be from miners, but falls away abruptly
to the right.
I'd guess Lliwedd from South Ridge?
T Dave R.
--
What hills have i been up recently?
www.walkeryri.org.uk
Theo
"badgerbrockhurst" <mike.br...@btinternet.com> schreef in bericht
news:1172084902.7...@a75g2000cwd.googlegroups.com...
I have this vague feeling it might be the InPin (Sgurr Dearg) from Sgurr
Coir an Lochan, with the ridge to Sgurr Mhic Choinnich on the lefthand site.
--
"Beannachd leibh"
Theo
www.theosphotos.fotopic.net
druidh
> "badgerbrockhurst" <mike.br...@btinternet.com> schreef in bericht
> news:1172084902.7...@a75g2000cwd.googlegroups.com...
>> Hi,
>>
>> An art gallery has sent me a picture of a mountain that they want
>> identifying. I've posted it at
>> http://www.walkingenglishman.com/unknownmountain.html
>>
>> I think it is Snowdon from the Miner's Track. Any ideas? Thanks.
>
> I have this vague feeling it might be the InPin (Sgurr Dearg) from Sgurr
> Coir an Lochan, with the ridge to Sgurr Mhic Choinnich on the lefthand site.
>
Sgurr Coir an Lochan?? That looks a wee bit more than a puddle in the
left foreground.
druidh
Theo
"druidh" <dru...@thepiss.blueyonder.co.uk> schreef in bericht
news:DU5Dh.18$HO...@fe1.news.blueyonder.co.uk...
Not that I'm aware of but Sgurr Coir an Lochan (the loch is down in the
corrie of course) is /flat/ enough to hold water after heavy rain.
Later this day I'll check some books to try to match the picture.
David
"badgerbrockhurst" <mike.br...@btinternet.com> wrote in message
news:1172084902.7...@a75g2000cwd.googlegroups.com...
Definitely a view of Crib Goch:
http://www.moorenet.co.uk/crib_goch.jpg
Dave
T Dave R
newyddion:erl39g$qqn$1...@aioe.org...
From Bwlch y Saethau? Quite possibly.
Unfortunately, the link doesn't work for me.
Posibly some artistic licence with the lump to the left as that's the
section that made me think it wasn't crib goch. That's if it's Snowdon at
all.
T Dave R
badgerbrockhurst
wrote:
> Hi,
>
> An art gallery has sent me a picture of a mountain that they want
>
> I think it is Snowdon from the Miner's Track. Any ideas? Thanks.
The Art Gallery strongly suspect Snowdon because of the aritists
background..I'll find out more about him
Simon Caldwell
<mike.br...@btinternet.com> wrote:
I reckon it's Crib Goch and Garnedd Ugain, probably viewed from lower
down the north ridge of Crib Goch, about here:
http://www.streetmap.co.uk/streetmap.dll?G2M?X=262470&Y=355645&A=Y&Z=4
The actual summit of Snowdon is hidden in the cloud to the left of the
peak, you can just about make out the connecting ridge. The apparent
tarn is probably artistic licence!
I can't find an equivalent photo, here's the best I've come up with
http://www.flickr.com/photos/mikeykey/254289739/
or
http://www.answers.com/topic/snowdon-massif-jpg (imagine the view seen
from part way down the foreground ridge on the far right of the photo)
Simon
--
Stop ID cards and the Database State
http://www.no2id.net/
Theo
"badgerbrockhurst" <mike.br...@btinternet.com> schreef in bericht
news:1172084902.7...@a75g2000cwd.googlegroups.com...
>
> An art gallery has sent me a picture of a mountain that they want
> identifying. I've posted it at
> http://www.walkingenglishman.com/unknownmountain.html
Is the artist still alive and can he/she be contacted ?
badgerbrockhurst
> "badgerbrockhurst" <mike.brockhu...@btinternet.com> schreef in berichtnews:1172084902.7...@a75g2000cwd.googlegroups.com...
>
> > Hi,
>
> > An art gallery has sent me a picture of a mountain that they want
> > identifying. I've posted it at
> >http://www.walkingenglishman.com/unknownmountain.html
>
> Is the artist still alive and can he/she be contacted ?
>
> --
> "Beannachd leibh"
>
> Theowww.theosphotos.fotopic.net
This was a good review of the exhibition at the Ashmolean show, which
tells you most of what one would like to know.
He was a poet and an academic, and a hillwalker! an unusual
combination, perhaps not so unusual amongst your enquirers.
ALL painters of the British landscape have (through necessity) been
walkers, up to and then with the train but mostly before the car.
That is why their experience of the terrain is so relevant and
timeless.
Regards,
Rupert Maas
The Poetry of Truth: Alfred William Hunt and the Art of Landscape.
Christopher Newall, with contributions by Scott Wilcox and Colin
Harrison. Ashmolean Museum, Oxford and Yale Center for British Art,
New Haven, 2004. Pp.x, 180 + 77 colour and 5 black and white
illustrations. ISBN 1-85444-196-5
Twenty-five years ago, beginning in the pages of this journal, Robert
Secor revealed a little of the life of the artist Alfred William Hunt
(1830-1896), first as the discoverer in 1870 of Catherine and Reine
Dausoigne, 'the Corsican sisters,' briefly "the rage of Pre-
Raphaelite society," then as a protégé of John Ruskin.1 Having failed
with Millais, Ruskin thought he could see in Hunt that blend of
Turnerian vision and Pre-Raphaelite intensity of observation which
would be the future path for British landscape painting. In this he
was not alone: in 1871 the Art Journal called him "most sensitive and
rapturous of our colourists," and F.G. Stephens, writing in the
Athenaeum, also considered him the legitimate successor of Turner.
Yet Hunt has been strangely and unfairly neglected over the last
century. A significant painter in both oil and watercolour, his work
is of course known to scholars and collectors, and has been included
in books and exhibitions such as Allen Staley's The Pre-Raphaelite
Landscape (1973, revised 2001) and Tate Britain's Pre-Raphaelite
Vision: Truth to Nature (2004). Christopher Newall, who organised the
Tate show along with Staley, has now succeeded magnificently in a
mission to revive Hunt's reputation, in an exhibition which brought
together 60 of the best examples, with a superb accompanying catalogue
revealing yet more about his unusual career.
For Hunt found himself occupying an uneasy place in the Victorian art
world. Born and educated in Liverpool, he had an artist father who
had known David Cox in Birmingham and admired Turner even before
Ruskin, so it was no surprise that the young Alfred could "draw before
he could write," and "lisped in colours, for the colours came."
Precocious and serious, he gained a scholarship to Corpus Christi
College, Oxford, winning the Newdigate Prize for poetry in 1851. Art
triumphed over academe, however, although it was only in
1861 that he relinquished his college Fellowship on marrying Margaret
Raine, a pupil of William Bell Scott; their first daughter Violet
flowered into one of the more colourful figures in later Pre-
Raphaelite circles, while Venetia (a god-daughter of Ruskin) became
the wife of the metalworker W.A.S. Benson.
Hunt's Pre-Raphaelite credentials are otherwise slight - he was a
member of the Hogarth Club (Rossetti considering his work "second
rate") and was belatedly asked to contribute to the 1857-8 British Art
exhibition which toured America - reflecting a certain sense of
distance from the fixed tenets of the movement. Rather than the
exaggerated detail of mainstream Pre-Raphaelitism, Hunt attempted a
fuller, if no less accurate, rendering of landscape, with what Newall
calls an "extraordinary capacity for replicating textures of natural
form," and an increasing sensitivity to atmosphere and tone (the
'poetry of truth' of the exhibition's subtitle). The large
watercolours of Finchale Priory (1861, Private Collection), A November
Rainbow - Dolwyddelan Valley (1866, Ashmolean Museum,
Oxford) and Loch Maree (1876, The Fuller Collection) are each
breathtaking examples of vision, in all its meaning, no less than of a
peerless technique, famously described by Violet: "[w]ith those long
nervous bird-like fingers he could propel or arrest his brush within
the merest fraction of an inch in any given direction, and 'place' a
dab of colour here or there with the force of a hammer or the
lightness of the swish of a bird's wing." Also included in the
exhibition were the rightly celebrated 'industrial' seascapes of
Tynemouth Pier (1865-66, Yale Center for British Art and Private
Collection), along with an amazingly Wagnerian study of Rhine - Steam-
tug with Barges (c.1860, Private Collection) and the unexpectedly
dramatic oil of Iron Works, Middlesborough (c.1863, Tate Britain).
While a case can certainly now be made for restoring Hunt to the
pantheon of major artists, there still remains something indefinably
just less than perfect in his attempts to bring together breadth as
well as detail in the most ambitious pictures: Ruskin, who could be
acute in his judgement as well as infuriating, defined this in a
letter to Hunt of 1873 as a "haunting difficulty of uniting colour-
composition with form-composition."
All but six of the works in the exhibition and catalogue are
watercolours, underlining his status as a full member of the Old Water
Colour Society (from 1864), but begging the question of his
significance as an oil painter. In contemporary dictionaries he
appears as a painter who also worked in watercolour, and Hunt himself
shared the ambition of most artists to be recognised by membership of
the Royal Academy, which could then only be achieved on the strength
of exhibited oils. Like Arthur Hughes, Hunt missed election by narrow
margins, souring his view of what he called the "maelstrom of modern
art associations:" William Michael Rossetti tried to cheer him by
writing that "the real point of attainment is to do justice to his
art, and to himself as an artist." The oils which Newall includes are
remarkable enough - from the astonishing flat-colour Wastdale Head
from Styhead Pass (1853, Harris Museum and Art Gallery, Preston) to
Birmingham's pellucid Leafy June (1878) - and there are plenty of
others in existence, but as is tacitly recognised, they are not
generally as striking or original as the watercolours.
The catalogue is a real contribution to scholarship, with an
illuminating essay by Scott Wilcox on Hunt's 1880 article on 'Modern
English Landscape Painting' and a checklist compiled by Colin
Harrison of the 225 sketchbooks in the Ashmolean Museum. In his
own
essay and catalogue entries, Newall has made extensive use of the
Violet Hunt papers at Cornell University, helpfully noting errors of
transcription in Secor's work and coming up with some wonderful
finds. Returning to favourite painting grounds in the north of
England in 1859 after a trip to Germany, Hunt told his wife how "the
air is really worth breathing - one can be an epicure over it - and
thank God, with each full breath, that one is an Englishman. Then
there is an undertone of thought suggesting that the beef is good &
that I have not seen a flea yet. And if I do see one, it will
likely
be one of those nasty foreigneering chaps." Sensitive and self-
depreciating, Hunt was described by his daughter Violet as a "quiet,
God-fearing, non-notoriety seeking father," whose only ambition was
"to paint on tranquilly." He has now been given fitting recognition
of a life well spent.