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Mona Lisa

Leonardo da Vinci began painting the Mona Lisa in 1503, during the Italian Renaissance and, according to Vasari, "after he had lingered over it four years, left it unfinished...."[5] He is thought to have continued to work on it for three years after he moved to France and to have finished it shortly before he died in 1519.[6] Leonardo took the painting from Italy to France in 1516 when King François I invited the painter to work at the Clos Lucé near the king's castle in Amboise. Most likely through the heirs of Leonardo's assistant Salai,[7] the king bought the painting for 4,000 écus and kept it at Château Fontainebleau, where it remained until given to Louis XIV. Louis XIV moved the painting to the Palace of Versailles. After the French Revolution, it was moved to the Louvre. Napoleon I had it moved to his bedroom in the Tuileries Palace; later it was returned to the Louvre. During the Franco-Prussian War (1870–1871) it was moved from the Louvre to a hiding place elsewhere in France.

Dr. Lillian F. Schwartz of Bell Labs suggests that the Mona Lisa is actually a self-portrait. She supports this theory with the results of a digital analysis of the facial features of Leonardo's face and that of the famous painting. When a self-portrait drawing by Leonardo is reversed and then merged with an image of the Mona Lisa using a computer, the features of the faces align perfectly.[15] Critics of this theory suggest that the similarities are due to both portraits being painted by the same person using the same style. Additionally, the drawing on which she based the comparison may not be a self-portrait. Serge Bramly, in his biography of Leonardo, discusses the possibility that the portrait depicts the artist's mother Caterina. This would account for the resemblance between artist and subject observed by Dr. Schwartz, and would explain why Leonardo kept the portrait with him wherever he traveled, until his death.

Gorges d'Apremont

The Barbizon school (circa 1830–1870) of painters is named after the village of Barbizon near Fontainebleau Forest, France, where the artists gathered.

The Barbizon painters were part of a movement towards realism in art which arose in the context of the dominant Romantic Movement of the time.

In 1824 the Salon de Paris exhibited works of John Constable. His rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events.

During the Revolutions of 1848 artists gathered at Barbizon to follow Constable's ideas, making nature the subject of their paintings.

Cuvier - La Marie-Rose

Marie-Rose: the first 6a of Fontainebleau.

I’m not sure why Marie-Rose is so special to the forest, aside from an arbitrary breakthrough in bouldering difficulty. I found her movement on our last morning in Fontainebleau, at my favorite area in the forest… her memory is a clear reflection in my mind. Ultimately, a testament of French machismo... and a really great boulder problem.

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Mary Rose
From Wikipedia, the free encyclopedia
The sole known image of the Mary Rose, depicted in the Anthony Roll
The Mary Rose was an English Tudor carrack warship and one of the first to be able to fire a full broadside of cannons. The Mary Rose was well equipped with 78 guns (91 after an upgrade in 1536) and was the pride of the English fleet. Built in Portsmouth, England (1509–1510) she was thought to be named after King Henry VIII's sister Mary and the rose, the Tudor emblem. She was one of the earliest purpose-built warships to serve in the Royal Navy; it is thought that she never served as a merchant ship. She displaced 500 tons (700 tons after 1536), was 38.5 m long and 11.7 m beam and her crew consisted of 200 sailors, 185 soldiers, and 30 gunners. After serving for over thirty years, she sank in the Solent during an engagement with the French fleet on 19 July 1545. The surviving section of the ship was raised in 1982 and is now on display in Portsmouth Historic Dockyard along with an extensive collection of well preserved artefacts.

Gorges du Houx - Gargantoit

I have had many wonderful moments climbing in the forest but the greatest inspiration or connection to the area has come from movement done on-sight (flash). I’ve been exceedingly lucky to capture a few of the forest’s legendary problems from the beginning. The movement and setting of Gargantoit was particularly special. The rock was a touch remote, the forest was quite, the pitch was centered from within a rock fortress, and our imaginations ran wild with an artist’s brush and a soldier’s formation.

Fontainebleau Impressionism

It seems impossible to try and describe Fontainebleau bouldering, as much of allure is not materially based and deeply personal.  There is a natural athletic to the forest, compliments of an extraordinary rock formula and the movement it encourages.  It’s also the pure majesty of the forest; following in the deeply rooted footsteps of the artists, kings, soldiers and peasants that made Fontainebleau their home.  Regardless, our passion seems more than meaningless in the forest, our motion manipulated into something closer to an expression of art then a generic gesture of frustration.     

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