Description:

NIKOLAI KONSTANTINOVICH ROERICH (RUSSIAN 1874-1947), Tulola, 1918
tempera and pencil on paper laid on board
29.8 x 67.8 cm (11 3/4 x 26 3/4 in.)
On verso, Inscribed: Tulola
Riverside Museum Collection label*; Brandeis University Art Collection label*; miscellaneous inscriptions
* Both labels contain information that originates with Mr. Louis Horch and therefore present no value for the cataloging purposes other than establishing the chain of provenance

PROVENANCE
Collection of the Roerich Museum, New York, 1923-1935
Collection of Nettie and Louis Horch, New York, from 1935
Collection of Riverside Art Museum, New York, 1960
Rose Art Museum, Brandeis University, Massachusetts, 197
Sold at Christie's auction, April 18, 2008, lot 51 (in Christie's catalogue the information for this painting was mixed up with that from Lot 50)

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

LITERATURE
Possibly: Roerich Museum Catalogue, New York, 1930, p. 16, nos. 151-164 (listed collectively as: Rocks and Cliffs-"Ladoga Series")

Nicholas Roerich and his family spent the summer of 1918 on Tulola, one of the biggest islands in the Ladoga Lake. In July he wrote to a friend: "At present we are living in Tulolansaari, which is an hour ferry ride from Sortavala. I'm working a lot, the surrounding mother nature pleases me beyond words." After witnessing how quickly humans can uproot their own history, he found profound comfort in rock formations and lakes that had endured through good and bad.

In 1918 he produced 117 works and more than half of them focused on Karelia scenery. Of that prodigious body of work, the present painting is one of the most serene and detached, a good example of just how immersed he was in the desolate landscape. The smooth planes of water and earth form a distinct contrast to the turbulent brushwork that marks many works during this period. The perspective is particularly interesting because we are standing on a ledge and floating above it simultaneously. Vast plains tilt towards us slightly, allowing us to cover even greater distances. We can look at the distant horizon, across the natural landscape, without encountering any sign of human life.

Roerich exhibited most of the works painted in 1917-1918 in his personal exhibitions in Stockholm (November, 1918), as well as Copenhagen and Helsinki (1919) and later London (1920) and the United States (1920-1923). The present work was most likely among them, even though we are unable to identify it in the exhibition catalogs as the titles of the Karelia landscapes kept changing at the time.

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

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