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    Nicholas Roerich. East & West
    Nicholas Roerich. East & West
    Nicholas Roerich. East & West
    Ebook189 pages1 hour

    Nicholas Roerich. East & West

    By Kenneth Archer

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    About this ebook

    Nicholas Roerich, with his huge and versatile talent, is one of the most interesting creative minds of the early 20th century. He was born in Saint Petersburg in 1874 and died in Kulu Valley (India) in 1947. After studying law and attending the Academy of Art, Nicholas Roerich developed a passionate interest in archaeology, a contribution that was acknowledged when he became a lecturer at the Russian Archaeological Society in 1900. His extensive travels in Europe, Russia, Asia and especially India were a source of inspiration wholly original and unique (for more than 7000 paintings). Roerich was also the author of the Pact which bears his name and which was designed to protect the cultural heritage in time of war. Moreover, he wrote numerous books and collections of poetry.
    LanguageEnglish
    PublisherParkstone International
    Release dateJun 12, 2021
    ISBN9781646999651
    Nicholas Roerich. East & West

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      Book preview

      Nicholas Roerich. East & West - Kenneth Archer

      Preface

      This monograph on the art of Nicholas Roerich is based on information gathered over three decades. The main thrust of the research took place, however, during a two-year period when I travelled to the Soviet Union, United States and India to see key collections of his art and interview those who knew most about it.

      In 1981 I benefitted from a three-week residency at the Nicholas Roerich Museum, New York, by invitation of its executive vice-president, Sina Fosdick, who had corresponded with me for ten years. I saw the museum’s collection of one-hundred-and-fifty paintings and discussed them with Mrs. Fosdick, a close friend and collaborator of the artist. During our talks I verified information acquired in the early 1970’s from Roerich’s former secretary, Vladimir Shibayev, based at Cardiff University, and from Roerich’s younger son, Svetoslav, when he came to London.

      During a second visit to the museum in 1982, I prepared a catalogue of the collection. In addition to further talks with Sina Fosdick, I interviewed Daniel Entin, the museum’s archivist (now its director) and Edgar Lansbury, its curator. While in New York I traced many Roerich paintings once owned by the former Roerich Museum-a collection which had numbered over one thousand works. I also interviewed Frances Grant, who, like Mrs Fosdick, had headed Roerich institutions.

      Funded by the International Research and Exchanges Board in summer 1983, I documented the largest Roerich collections in the USSR. In Moscow I conducted interviews with Olga Rumyansova, director of the Roerich Study at the State Oriental Museum, and with curators at the Tretyakov Gallery and the Bakhrushin Theatre Museum. In Leningrad I viewed Roerich materials at the Academy of Art and had a week of meetings with Valentina Knyaseva, twentieth century curator at the State Russian Museum and Roerich’s leading biographer. Her collaborator, Pavel Belikov, had for years shared information with me through the post.

      In autumn 1983 I toured India with a travel grant from the Indian Council for Cultural Relations. I spent three weeks in Bangalore interviewing Svetoslav Roerich, studied Roerich collections at Indian institutions and stayed for two weeks researching at Roerich’s former residence, now a gallery of his art, at Naggar in the Himalayas.

      Overseas Guests: a folk painting, 1902. Oil on board, 79 x 100 cm. Russian Museum, Saint Petersburg

      Acknowledgements

      Many people and organizations have been of assistance in the course of my research on Nicholas Roerich, and I am grateful to them all. In addition to the individuals and institutions named in my preface, I should like to mention specifically Jean Archer, my foremost helper since I began the Roerich work, and Devika Rani Roerich, with whom I corresponded for two decades. Among the many institutions whose directors and staff members I should like to thank, the following are particularly relevant to this book-in London: Antioch International, India Office Library, Oriental Department of the British Museum and Victoria and Albert Museum; and elsewhere in England: Ashmolean Museum, Oxford, Department of Art History, University of Essex, and Worthing Municipal Art Gallery; in Helsinki, the Atheneum Museum and Synebrychoff Museum; in Paris: Bibliothèque Nationale, Institut Nationale des Etudes Slaves, Documentation du Musée d’Orsay, Grande Chancellerie, Légion d’Honneur, Fonds Nationale d’Art Contemporain, Bibliothèque de l’Opéra, Musée des Arts Decoratifs, Louvre, Musée National d’Art Moderne, Centre Georges Pompidou, and Service Slave, Bibliothèque Nationale; in New Delhi: Lalit Kala Academi, National Gallery of Modern Art and Pusa Institute Library; elsewhere in India: Allahabad Museum, Bhavat Kala Bhavan Museum of Art and Archaeology in Varanasi, Karnataka Chitrakala Parishath Art Complex, Bangalore, Roerich Art Gallery, Naggar, Sri Chitra Art Gallery, Trivandrum, and Theosophical Society Museum, Adyar; in Milan: Museo di Teatro alla Scala; in St Petersburg: Academy of Art, Hermitage Museum, Institute of Archaeology, Saltykov- Schedrin Library and State Theatrical Museum; and elsewhere in Russia: Lenin Library, Moscow and State Regional Museum, Novgorod; in Stockholm: Dansmuseet; in New York: Centre for Peace Through Culture, Cordier-Ekstrom Gallery, Dance Collection of the Performing Arts Library at Lincoln Center, Slavic Division, Columbia University Library and Stravinsky-Diaghilev Foundation; and elsewhere in the United States: Robert Frost Library and Slavic Studies Department, Amhurst College; Rose Art Museum at Brandeis University in Waltham; and the Library of Congress, Washington, DC.

      Old Russia, Yaroslav. Church of the Nativity of Our Lady, 1903. Oil on panel, 31.7 x 40 cm. Museum of Oriental Art, Moscow

      Introduction

      Nicholas Roerich (1874-1947) began his life in imperial Russia, on the eastern edge of western civilisation. He ended his days in the British Himalayas at an outpost of western society in the east. As a burgeoning artist and scholar, he had grown up among the intelligentsia of St Petersburg, known since its founding as Russia’s ‘window on the west.’ Like generations of European painters, he furthered his artistic training in France and Italy. But he was always intrigued by the oriental aspects of Russia. In the World of Art circle of Sergei Diaghilev, Roerich as a young professional was identified with the Slavophile rather than the Francophile faction.[1] Designing for Diaghilev’s Ballets Russes, Roerich saw Europe in the last years of the Belle Epoque, and the international exhibition of his paintings was part of the creative outburst so abruptly interrupted by World War I.

      Around the time of the Russian Revolution, Roerich left his homeland- virtually for life. From 1917 until 1919 he lived in Finland and exhibited his paintings in Scandinavia. He then moved to London where he designed at Covent Garden and presented his Spells of Russia exhibition, which toured to other English cities.[2] In 1920 he took his wife and sons to the United States, becoming one of the many European artists displaced in the twentieth century by wars and revolutions. But Roerich arrived in America with considerable advantages. He had come through the prestigious invitation of the Chicago Art Institute and commissions from the Chicago Opera. New York, however, became his base, and for several years he flourished not only as a painter but as a founder of various cultural institutions.[3] At the age of forty-nine he was a successful man and a model of the western artist as the role had evolved since the Renaissance. By the time he was fifty, however, his life had undergone a total reorientation. In 1923 he sailed with his family to India and toured the subcontinent before embarking on a five-year expedition through Central Asia.

      Roerich’s art manifested the same polarity as his life. What first inspired his painting was the history hidden in the Russian earth, findings from his own archaeological excavations. The bones, urns, knives and other ritual objects of burial

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