Description:

NIKOLAI KONSTANTINOVICH ROERICH (RUSSIAN 1874-1947), Mont Blanc, 1923
tempera on board
30.5 x 40.7 cm (12 x 16 in.)
On verso, a label with inscriptions in Louis Horch's hand, the board stamped with an anchor sign, miscellaneous incriptions

PROVENANCE
Collection of the Roerich Museum, New York, 1923-1935
Collection of Nettie and Louis Horch, from 1935
Collection of Dr. Carlos Giro, New York, 1957-2003
Private Collection, USA

EXHIBITED
Roerich Museum, New York, 1924-1935 (permanent exhibition)

LITERATURE
N.Roerich. List of Paintings, 1917-1924, Autograph, Nicholas Roerich Museum archive. No. 14 in year 1923 (see: http://www.roerich.org/materials/list1917-1924.html)
F. Grant et al., Roerich. Himalaya. A Monograph., New York: Brentano Publ., 1926, p. 199
Roerich Museum Catalogue, New York, 1930, p. 18, no. 290

This study is one of only six works executed during a short but distinct period in Nicholas Roerich's artistic career-his stay in the Alps (mostly in St. Moritz and Chamonix) during July and August of 1923. At present, of the six landscapes, one is in the Latvian National Museum of Art, three were bought in the Sotheby's and MacDougall's auctions in 2009 and 2011, respectively, and the whereabouts of the sixth are unknown. This study is the only part of the series currently on the market.

Gazing up at Mont Blanc, the highest peak in Europe, Roerich was still getting to grips with painting vast expanses of rock. His brushwork is uncertain, still looking for the force and clear-cut direction that would distinguish his later work. The light is diffuse, a far different approach than the sharp contrasts of light and shadow in his landscapes of Central Asia. But this study is all the more valuable for giving us a glimpse into Roerich's process before he developed a more confident hand. His perspective is more malleable, as he deconstructs the scenery with a fresh eye. Before Roerich solidified his identity as a painter of mountains, he was an intense observer, a painter of forms and arbiter of color. His insatiable curiosity for mountain ranges, which he sustained for the rest of his life, is at its most apparent here, in the soft violet and blue strokes that are fluid enough to be turbulent water. The foreground cascades downwards diagonally, while the topmost peaks retain a cloud-like consistency.

Three other studies in this series are more conventional in their composition, closer to postcards of a path well-worn by tourists. But in this instance Roerich has gone off the beaten track, choosing a more unique, personal point of view. At the end of 1923, Roerich would go to India, leaving the icy peaks of the Alps for landscapes with a wider range of warm, earthy tones. He would continue to paint thousands of mountain views, including famous Himalayan peaks like Everest and Kanchenjunga, but this is his only known painting of their European counterpart.

We would like to thank Gvido Trepša, Senior Researcher at Nicholas Roerich Museum, New York, for providing catalogue information.

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November 16, 2013 10:00 AM EST
New York, NY, US

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