Гонец (Восстал род на род)

• 1890s
• Paper, ink, nib, graphite pencil.
• The State Russian Museum
• Р-50497

The elders converge

• 1898
• Canvas, oil. 40 х 71
• The State Russian Museum
• Ж-5504

Сходятся старцы

• 1898 (?)
• сharcoal , chalk. 40,3 x 30,9
• The State Russian Museum
• Р-1943

Park in Autumn

• Study
• Early 1900s
• Canvas, oil. 36 x 56
• The State Russian Museum
• Ж-6440

Заморские гости

• 1900–1901
• gouache, ink, nib, bronze paint. 16,6 x 20,3
• The State Russian Museum
• Р-1940

Портрет князя Павла Арсеньевича Путятина (1837-1919)

• 1900
• Graphite pencil. 30,7 x 22,9
• The State Russian Museum
• Р-50518

Foreign Guests

• 1901
• Canvas, oil. 40,5 x 65
• The State Russian Museum
• Ж-1964

Idols

• 1901
• Cardboard, gouache. 49 х 56
• The State Russian Museum
• Ж-1961

Ominous

• 1901
• Canvas, oil. 104 x 233,5
• The State Russian Museum
• Ж-1958

Вещие

• 1901
• Paper, graphite pencil, watercolours. 9,2 x 22,8
• The State Russian Museum
• Р-1939

Ладьи

• 1901
• pastel. 27,6 x 27,4
• The State Russian Museum
• Р-1941

Лучник. Воины

• Paper, ink, nib, brush. 11,7 x 8,5
• The State Russian Museum
• Р-50501

Чайки

• 1901
• сharcoal , gouache, bronze paint. 22,2 x 72,9
• The State Russian Museum
• Р-50519

Idols

• 1902
• Cardboard, , watercolours. 30,8 х 26,6
• The State Russian Museum
• Р-6473

Overseas Guests

• 1902
• Cardboard, oil. 79 x 100
• The State Russian Museum
• Ж-1974

Nicholas Roerich’s Overseas Guests casts the viewer back to the romantic world of strong and brave Varangians, who, as the artist himself affirmed, introduced «a new impetus» into Russian history. The poetical structure of the canvas and its fairytale elegance contribute to the unusual nature of the history theme. The master employs several devices of Russian folk art — terse drawing and intense decorative tones. This inherent link to folk art was indicated in the catalogue of Roerich’s one-man show (1903), which lists this work as Overseas Guests. Folk Picture. The canvas was painted at Fernand Cormon’s studio in Paris, where Roerich was a student. The artist later repeated the picture for collectors. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 264.

Вороны

• 1902
• сharcoal , pastel.
• The State Russian Museum
• Р-57062

Замок

• Paper, ink, nib, brush. 9,8 x 14,5
• The State Russian Museum
• Р-50210

Поединок

• 1902
• Cardboard, pastel. 46,5 x 69
• The State Russian Museum
• Ж-9371

Alexander Nevsky Striking Birger Jarl

• 1904
• Cardboard, gouache. 28 х 45
• The State Russian Museum
• Ж-1960

A Novgorod chronicle tells of a battle fought on the River Neva between Russian and Swedish forces in 1240. The purpose of the Swedish attack was to seize the mouth of the river and, consequently, an area of Russian territory. In the battle the Russian forces under Prince Alexander Yaroslavich of Novgorod defeated the enemy and their leader, Birger, the future King of Sweden. Prince Alexander Yaroslavich was granted the title “Nevsky” on account of his courage and military skill.

Church of the Dormition by the Ferry in Pskov

• Early 1900s
• Canvas, oil. 53 x 79
• The State Russian Museum
• Ж-6438

Roerich Nicholas (Nikolai Konstantinovich)

Painter, theatrical designer, writer. Studied under Arkhip Kuindzhi at the Imperial Academy of Arts (1893-97), Faculty of Law, St Petersburg University (1893-98) and Fernand Cormon\'\'s studio in Paris (1900-01). Academician of painting (1909). Contributed to exhibitions (from 1895). Contributed to the exhibitions of the World of Art (1902, 1903, 191 1-17; founding member 1910; chairman 1910-13), Union of Russian Artists ( 1903-10; member from 1903), Salon d\'\'Automne (1906, 1907; member from 1906), Exposition Universelle in Paris (1900), World Exhibition in St Louis (1904), International Exhibitions in Munich (1909), Rome (1911, 1914) and Malmo (1914) and the Exhibitions of Russian Art in Paris (1906-08), Berlin (1906) and Vienna (1908). Director of the School of Drawing, Society for the Encouragement of the Arts (1906-16). Designed for theatres in Moscow and St Petersburg and Sergei Diaghilev\'\'s Saisons Russes (from 1907). Emigrated (1918). Settled in Kullu in India (1928).

Гонец (Восстал род на род)

• 1890s
• Paper, ink, nib, graphite pencil.
• The State Russian Museum
• Р-50497

The elders converge

• 1898
• Canvas, oil. 40 х 71
• The State Russian Museum
• Ж-5504

Сходятся старцы

• 1898 (?)
• сharcoal , chalk. 40,3 x 30,9
• The State Russian Museum
• Р-1943

Foreign Guests

• 1901
• Canvas, oil. 40,5 x 65
• The State Russian Museum
• Ж-1964

Idols

• 1901
• Cardboard, gouache. 49 х 56
• The State Russian Museum
• Ж-1961

Idols

• 1902
• Cardboard, , watercolours. 30,8 х 26,6
• The State Russian Museum
• Р-6473

Overseas Guests

• 1902
• Cardboard, oil. 79 x 100
• The State Russian Museum
• Ж-1974

Nicholas Roerich’s Overseas Guests casts the viewer back to the romantic world of strong and brave Varangians, who, as the artist himself affirmed, introduced «a new impetus» into Russian history. The poetical structure of the canvas and its fairytale elegance contribute to the unusual nature of the history theme. The master employs several devices of Russian folk art — terse drawing and intense decorative tones. This inherent link to folk art was indicated in the catalogue of Roerich’s one-man show (1903), which lists this work as Overseas Guests. Folk Picture. The canvas was painted at Fernand Cormon’s studio in Paris, where Roerich was a student. The artist later repeated the picture for collectors. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 264.

Поединок

• 1902
• Cardboard, pastel. 46,5 x 69
• The State Russian Museum
• Ж-9371

Alexander Nevsky Striking Birger Jarl

• 1904
• Cardboard, gouache. 28 х 45
• The State Russian Museum
• Ж-1960

A Novgorod chronicle tells of a battle fought on the River Neva between Russian and Swedish forces in 1240. The purpose of the Swedish attack was to seize the mouth of the river and, consequently, an area of Russian territory. In the battle the Russian forces under Prince Alexander Yaroslavich of Novgorod defeated the enemy and their leader, Birger, the future King of Sweden. Prince Alexander Yaroslavich was granted the title “Nevsky” on account of his courage and military skill.

Patrol

• 1905
• Canvas, oil. 148,5 x 148,5
• The State Russian Museum
• Ж-2003

Slavs on the Dnieper

• 1905
• Tempera, cardboard. 67 х 89
• The State Russian Museum
• Ж-1975

Городок

• 1907
• Cardboard, tempera, graphite, gouache. 15 x 23
• The State Russian Museum
• Ж-1970

Boyan (Bard)

• 1910
• Canvas, tempera. 203 х 104,5
• The State Russian Museum
• Ж-7959

Ilya Muromets

• 1910
• Canvas, tempera. 203 x 338
• The State Russian Museum
• Ж-7953

Ilya Muromets, a character from folk epics, was a bogatyr who represented the ideal of the hero and warrior.

The suite “Bogatyr Frieze”

In 1909-1910 Roerich performed the series of panels "Bogatyr frieze" for the mansion of Philadelph (Philipp) Bazhanov, the prominent industrialist and honorable citizen of Saint- Petersburg. The house was built by the architect Pavel Aleshin in 1907-1908 in the Art Nouveau style. Unique design was characteristic of every interior he created, but the theme of heroic Ancient Rus was the dominant one. The living room was decorated with majolica fireplace "Volga and Mikula", made according to the sketch of Mikhail Vrubel. The Roerich's panel was located in the dining room. The series consisted of eight narratives (“Sadko”, “Knight”,”Boyan (Bard)”, “Ilya Muromets”, “Mikula Selyaninovich”, “Hill Fort”, “Volga Svyatoslavovich”, “Nightingale the Robber”) and eleven decorative compositions. The creation of the monumental "Bogatyr frieze" became the culmination of Roerich’s appeal to the epic topic in his work.

Knight

• 1910
• Canvas, tempera. 204 x 104,5
• The State Russian Museum
• Ж-7960

Mikula Selyaninovich

• 1910
• Canvas, tempera. 203 x 494
• The State Russian Museum
• Ж-7957

Mikula Selyaninovich, a character from Russian folk epics, was a legendary bogatyr who was very good at ploughing land; he personified the Russian peasantry.

The suite “Bogatyr Frieze”

In 1909-1910 Roerich performed the series of panels "Bogatyr frieze" for the mansion of Philadelph (Philipp) Bazhanov, the prominent industrialist and honorable citizen of Saint- Petersburg. The house was built by the architect Pavel Aleshin in 1907-1908 in the Art Nouveau style. Unique design was characteristic of every interior he created, but the theme of heroic Ancient Rus was the dominant one. The living room was decorated with majolica fireplace "Volga and Mikula", made according to the sketch of Mikhail Vrubel. The Roerich's panel was located in the dining room. The series consisted of eight narratives (“Sadko”, “Knight”,”Boyan (Bard)”, “Ilya Muromets”, “Mikula Selyaninovich”, “Hill Fort”, “Volga Svyatoslavovich”, “Nightingale the Robber”) and eleven decorative compositions. The creation of the monumental "Bogatyr frieze" became the culmination of Roerich’s appeal to the epic topic in his work.

Nightingale the Robber

• 1910
• Canvas, tempera. 202 x 341
• The State Russian Museum
• Ж-7954

Nightingale the Robber was a negative character in Eastern Slav mythology and folk epics. He would perch on a tree by a road and stun anyone passing by with his terrible whistle. He could not be defeated until, according to one version of the story, the bogatyr Ilya Muromets blinded him with his sharp spear.

The suite “Bogatyr Frieze”

In 1909-1910 Roerich performed the series of panels "Bogatyr frieze" for the mansion of Philadelph (Philipp) Bazhanov, the prominent industrialist and honorable citizen of Saint- Petersburg. The house was built by the architect Pavel Aleshin in 1907-1908 in the Art Nouveau style. Unique design was characteristic of every interior he created, but the theme of heroic Ancient Rus was the dominant one. The living room was decorated with majolica fireplace "Volga and Mikula", made according to the sketch of Mikhail Vrubel. The Roerich's panel was located in the dining room. The series consisted of eight narratives (“Sadko”, “Knight”,”Boyan (Bard)”, “Ilya Muromets”, “Mikula Selyaninovich”, “Hill Fort”, “Volga Svyatoslavovich”, “Nightingale the Robber”) and eleven decorative compositions. The creation of the monumental "Bogatyr frieze" became the culmination of Roerich’s appeal to the epic topic in his work.

Sadko

• 1910
• Tempera, canvas. 203 х 700
• The State Russian Museum
• Ж-7958

Volga Svyatoslavovich

• 1910
• Canvas, tempera. 203 x 495
• The State Russian Museum
• Ж-7956

Volga Svyatoslavovich was a character from Russian folk epics. He was a bogatyr, a hunter and a warrior, and was able to transform himself into various wild animals.

The suite “Bogatyr Frieze”

In 1909-1910 Roerich performed the series of panels "Bogatyr frieze" for the mansion of Philadelph (Philipp) Bazhanov, the prominent industrialist and honorable citizen of Saint- Petersburg. The house was built by the architect Pavel Aleshin in 1907-1908 in the Art Nouveau style. Unique design was characteristic of every interior he created, but the theme of heroic Ancient Rus was the dominant one. The living room was decorated with majolica fireplace "Volga and Mikula", made according to the sketch of Mikhail Vrubel. The Roerich's panel was located in the dining room. The series consisted of eight narratives (“Sadko”, “Knight”,”Boyan (Bard)”, “Ilya Muromets”, “Mikula Selyaninovich”, “Hill Fort”, “Volga Svyatoslavovich”, “Nightingale the Robber”) and eleven decorative compositions. The creation of the monumental "Bogatyr frieze" became the culmination of Roerich’s appeal to the epic topic in his work.

Архитектурный мотив

• 1910
• Canvas, tempera. 140 x 20
• The State Russian Museum
• Ж-7964-Ж-7965

Boyan (Bard)

• 1910
• Canvas, tempera. 203 х 104,5
• The State Russian Museum
• Ж-7959

Ilya Muromets

• 1910
• Canvas, tempera. 203 x 338
• The State Russian Museum
• Ж-7953

Ilya Muromets, a character from folk epics, was a bogatyr who represented the ideal of the hero and warrior.

The suite “Bogatyr Frieze”

In 1909-1910 Roerich performed the series of panels "Bogatyr frieze" for the mansion of Philadelph (Philipp) Bazhanov, the prominent industrialist and honorable citizen of Saint- Petersburg. The house was built by the architect Pavel Aleshin in 1907-1908 in the Art Nouveau style. Unique design was characteristic of every interior he created, but the theme of heroic Ancient Rus was the dominant one. The living room was decorated with majolica fireplace "Volga and Mikula", made according to the sketch of Mikhail Vrubel. The Roerich's panel was located in the dining room. The series consisted of eight narratives (“Sadko”, “Knight”,”Boyan (Bard)”, “Ilya Muromets”, “Mikula Selyaninovich”, “Hill Fort”, “Volga Svyatoslavovich”, “Nightingale the Robber”) and eleven decorative compositions. The creation of the monumental "Bogatyr frieze" became the culmination of Roerich’s appeal to the epic topic in his work.

Knight

• 1910
• Canvas, tempera. 204 x 104,5
• The State Russian Museum
• Ж-7960

Mikula Selyaninovich

• 1910
• Canvas, tempera. 203 x 494
• The State Russian Museum
• Ж-7957

Mikula Selyaninovich, a character from Russian folk epics, was a legendary bogatyr who was very good at ploughing land; he personified the Russian peasantry.

The suite “Bogatyr Frieze”

In 1909-1910 Roerich performed the series of panels "Bogatyr frieze" for the mansion of Philadelph (Philipp) Bazhanov, the prominent industrialist and honorable citizen of Saint- Petersburg. The house was built by the architect Pavel Aleshin in 1907-1908 in the Art Nouveau style. Unique design was characteristic of every interior he created, but the theme of heroic Ancient Rus was the dominant one. The living room was decorated with majolica fireplace "Volga and Mikula", made according to the sketch of Mikhail Vrubel. The Roerich's panel was located in the dining room. The series consisted of eight narratives (“Sadko”, “Knight”,”Boyan (Bard)”, “Ilya Muromets”, “Mikula Selyaninovich”, “Hill Fort”, “Volga Svyatoslavovich”, “Nightingale the Robber”) and eleven decorative compositions. The creation of the monumental "Bogatyr frieze" became the culmination of Roerich’s appeal to the epic topic in his work.

Nightingale the Robber

• 1910
• Canvas, tempera. 202 x 341
• The State Russian Museum
• Ж-7954

Nightingale the Robber was a negative character in Eastern Slav mythology and folk epics. He would perch on a tree by a road and stun anyone passing by with his terrible whistle. He could not be defeated until, according to one version of the story, the bogatyr Ilya Muromets blinded him with his sharp spear.

The suite “Bogatyr Frieze”

In 1909-1910 Roerich performed the series of panels "Bogatyr frieze" for the mansion of Philadelph (Philipp) Bazhanov, the prominent industrialist and honorable citizen of Saint- Petersburg. The house was built by the architect Pavel Aleshin in 1907-1908 in the Art Nouveau style. Unique design was characteristic of every interior he created, but the theme of heroic Ancient Rus was the dominant one. The living room was decorated with majolica fireplace "Volga and Mikula", made according to the sketch of Mikhail Vrubel. The Roerich's panel was located in the dining room. The series consisted of eight narratives (“Sadko”, “Knight”,”Boyan (Bard)”, “Ilya Muromets”, “Mikula Selyaninovich”, “Hill Fort”, “Volga Svyatoslavovich”, “Nightingale the Robber”) and eleven decorative compositions. The creation of the monumental "Bogatyr frieze" became the culmination of Roerich’s appeal to the epic topic in his work.

Sadko

• 1910
• Tempera, canvas. 203 х 700
• The State Russian Museum
• Ж-7958

Volga Svyatoslavovich

• 1910
• Canvas, tempera. 203 x 495
• The State Russian Museum
• Ж-7956

Volga Svyatoslavovich was a character from Russian folk epics. He was a bogatyr, a hunter and a warrior, and was able to transform himself into various wild animals.

The suite “Bogatyr Frieze”

In 1909-1910 Roerich performed the series of panels "Bogatyr frieze" for the mansion of Philadelph (Philipp) Bazhanov, the prominent industrialist and honorable citizen of Saint- Petersburg. The house was built by the architect Pavel Aleshin in 1907-1908 in the Art Nouveau style. Unique design was characteristic of every interior he created, but the theme of heroic Ancient Rus was the dominant one. The living room was decorated with majolica fireplace "Volga and Mikula", made according to the sketch of Mikhail Vrubel. The Roerich's panel was located in the dining room. The series consisted of eight narratives (“Sadko”, “Knight”,”Boyan (Bard)”, “Ilya Muromets”, “Mikula Selyaninovich”, “Hill Fort”, “Volga Svyatoslavovich”, “Nightingale the Robber”) and eleven decorative compositions. The creation of the monumental "Bogatyr frieze" became the culmination of Roerich’s appeal to the epic topic in his work.

Архитектурный мотив

• 1910
• Canvas, tempera. 140 x 20
• The State Russian Museum
• Ж-7964-Ж-7965

Городище

• 1910
• Canvas, tempera. 65 x 474
• The State Russian Museum
• Ж-7955

Растительный мотив

• 1910
• Canvas, tempera. 35 x 145
• The State Russian Museum
• Ж-7962

Растительный мотив с птицей

• 1910
• Canvas, tempera. 138 x 33
• The State Russian Museum
• Ж-7967-Ж-7969

Polovtsian Camp

• Set design for the production of the Polovtsian Dances from Alexander Borodin’s opera Prince Igor in Paris during Saisons Russes (1909)
• 1909
• Cardboard, pastel, tempera. 43 х 60
• The State Russian Museum
• Ж-1983

Battle of Kerzhenets

• Study
• 1911
• Cardboard, tempera. 52,5 x 70
• The State Russian Museum
• Ж-10994

Battle of Kerzhenets is a curtain design by Roerich for a symphonic interlude in Rimsky-Korsakov’s opera The Legend of the Invisible City of Kitezh and the Maiden Fevronia for Sergei Diaghilev’s Saisons Russes in Paris. The Battle of Kerzhenets is an episode in the Russian forces’ battle against the invading Tartars in the 13th century. According to legend in this battle an entire town, called Kitezh, vanished into the waters of the River Kerzhenets which flows through the Nizhny Novgorod Province. In his curtain design Roerich depicted the fierce battle between the Russians and the Tartars. The swiftly galloping riders and ominously swirling clouds reflected in the waters of the river hide the outlines of the vanishing town, thus saving it from destruction by the enemy. Later on the design would form the basis of a decorative panel for the Kazan Station in Moscow (it was never produced).

Grandfather Frost

• 1912
• Paper, tempera, graphite, gouache. 24 x 15,5
• The State Russian Museum
• Ж-1969

Set and costume designs for the production of Alexander Ostrovsky’s play The Snow Maiden at the Reineke Dramatic Theater in St Petersburg.

Николай Рерих. В поисках Шамбалы. СПб, 2020. С. 62.

Kiss the Earth

• Set design for the production of Igor Stravinsky’s ballet The Rite of Spring in Paris during Saisons Russes (1913)
• 1912
• Cardboard, tempera. 56 х 80,5
• The State Russian Museum
• Ж-1982

Set design for Act I of Igor Stravinsky’s ballet Le Sacre du printemps Sergei Diaghilev’s Ballets Russes. Paris, 1913
The artist himself contributed to the libretto of Igor Stravinsky’s ballet Le Sacre du printemps. While Stravinsky composed the music, Roerich developed the ballet “score”, employing his excellent knowledge of the customs, dances and costumery of the Ancient Slavs in a synthesis of the arts befitting a member of the World of Art. Although his sets were highly acclaimed by the critics, the public failed to understand the revolutionary choreography of Vaslav Nijinsky. Audiences whistled and jeered, drowning out the orchestra. Adoration of the Earth is inspired by ancient Russian history.

Kiss the Earth. First Act

• Set design for the production of Igor Stravinsky’s ballet The Rite of Spring in Paris during Saisons Russes (1913)
• 1912
• Cardboard, tempera. 62 x 94
• The State Russian Museum
• Ж-1979

Mountainous Area

• Third Act
• 1912
• Cardboard, tempera, graphite, gouache. 56 x 70
• The State Russian Museum
• Ж-1967

Romsdal Cliffs

• Set designs for the production of Henrik Ibsen’s drama Peer Gynt at the Moscow Art Theater. 1912. Second Act
• 1912
• Cardboard, tempera. 66 x 87
• The State Russian Museum
• Ж-5501

Snow Maiden

• 1912
• Paper, tempera, graphite, gouache. 24,5 x 15,5
• The State Russian Museum
• Ж-1968

Set and costume designs for the production of Alexander Ostrovsky’s play The Snow Maiden at the Reineke Dramatic Theater in St Petersburg 1912.

Николай Рерих. В поисках Шамбалы. СПб, 2020. С. 62.

Каюта

• 1912 (?)
• Tempera, сharcoal . 52 x 69,1
• The State Russian Museum
• Р-57518

Поцелуй Земле

• 1912
• Paper, watercolours, white pigment, graphite pencil, tempera. 17 x 25,5
• The State Russian Museum
• Р-57591

Декорация к I акту Пер-Гюнта

• 1913
• Paper, ink. 48,4 x 64,1
• The State Russian Museum
• Р-1936

In the Convent

• Set design for the production of Alexei Davidov’s opera Sister Beatrice, based on the play of the same name by Maurice Maeterlinck, performed at the Musical Drama Theater in Petrograd in 1915
• 1914
• Cardboard, tempera. 75,5 х 86
• The State Russian Museum
• Ж-1981

Бояре

• 1914
• paper mounted on cardboard, gouache, ink, , graphite pencil. 32,1 х 48,2
• The State Russian Museum
• Р-57592

Народ

• 1914
• Paper, gouache, graphite pencil. 26,7 x 33,4
• The State Russian Museum
• Р-1938

Скула и Ерошка

• 1914
• Paper, gouache, graphite pencil. 26,8 x 33,4
• The State Russian Museum
• Р-1937

Tibet. Burning Mountaintop

• 1933 (?)
• Canvas, tempera. 46 x 79
• The State Russian Museum
• Ж-7078

Fujiyama

• 1935 (6?)
• Cardboard, tempera. 30,6 x 45,7
• The State Russian Museum
• Ж-7315

Fujiyama

• 1935 (6?)
• Cardboard, tempera. 30,8 x 46,1
• The State Russian Museum
• Ж-7223

Fujiyama

• 1935 (6?)
• Cardboard, tempera. 30,6 x 45,8
• The State Russian Museum
• Ж-7136

Lahaul Rocks (Signs ofGesar)

• 1935
• Canvas, tempera. 86 x 123
• The State Russian Museum
• Ж-7106

Images of this sort are typical of Bronze Age rock paintings discovered in India, Kirgizia, Kazakhstan, Mongolia and Western Tibet (Lahaul). The images depict the traditional scene of a round dance in honour of the god Gesar. Roerich returned several times to this character both in his paintings and his writings (The Sword of Gesar Khan). Gesar Khan was a religious hero in a Mongolian-Tibetan epic who cleansed the earth of monsters.

Гуннская могила

• 1935 (6?)
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7152

Кулута (Горы перед рассветом)

• 1935 (6?)
• Cardboard, tempera, graphite, gouache. 30,7 x 45,8
• The State Russian Museum
• Ж-7310

Ледник Лахул

• 1935 (6?)
• Cardboard, tempera. 30,9 x 45,8
• The State Russian Museum
• Ж-7213

Наран-Обо. Монголия

• 1935 (6?)
• Canvas, tempera. 48 x 63,5
• The State Russian Museum
• Ж-7083

Пещеры Баин-Обо. Монголия

• 1935 (6?)
• Cardboard, tempera, graphite, gouache. 30,8 x 45,8
• The State Russian Museum
• Ж-7108

Цейлон (Парусная лодка на песке)

• 1935 (6?)
• Cardboard, tempera, graphite, gouache. 30,5 x 45,6
• The State Russian Museum
• Ж-7215

Эверест (Джомолунгма)

• 1935 (6?)
• Cardboard, tempera, graphite, gouache. 30,3 x 45,5
• The State Russian Museum
• Ж-7168

Золотой склон

• Cardboard, tempera, graphite, gouache. 30,7 x 49,5
• The State Russian Museum
• Ж-7411

Предрассветные горы

• Cardboard, tempera, graphite, gouache. 30,7 x 45,6
• The State Russian Museum
• Ж-7291

Evening (Stupas at Blue Mountains)

• 1937
• Cardboard, tempera. 30,8 x 45,8
• The State Russian Museum
• Ж-7159

Stupa. Ladakh

• 1937
• Canvas, tempera. 82 x 123
• The State Russian Museum
• Ж-7105

Tibet (Dark Mountaintops at Evening)

• 1937
• Cardboard, tempera. 30,5 x 45,7
• The State Russian Museum
• Ж-7203

Yamdrok Lake (A Settlement in the Mountains)

• 1937
• Cardboard, tempera, graphite, gouache. 30,5 х 37,7
• The State Russian Museum
• Ж-7149

Вечерние горы

• 1937
• Cardboard, tempera. 30,6 x 45,8
• The State Russian Museum
• Ж-7319

Граница Тибета (Снежное пространство)

• 1937
• Cardboard, tempera, graphite, gouache. 30,5 x 45,8
• The State Russian Museum
• Ж-7369

Himalayas. Rakaposhi

• 1933
• Canvas, tempera. 46 x 79
• The State Russian Museum
• Ж-7075

Rakaposhi is a 7,788 metre peak.

Николай Рерих. В поисках Шамбалы. Каталог выставки в Малаге. 2019. С. 74.

Everest (Jomolungma)

• 1935
• Canvas, tempera. 61 x 152
• The State Russian Museum
• Ж-7099

Гималаи. Туман

• 1935 (6?)
• Cardboard, tempera, graphite, gouache. 30,2 x 45,7
• The State Russian Museum
• Ж-7151

Облака на вершинах. Гималаи

• Canvas, tempera. 31 x 61
• The State Russian Museum
• Ж-7084

Туман в горах. Гималаи

• Canvas, tempera. 46 x 79
• The State Russian Museum
• Ж-7076

Himalayas. Blue Cliffs

• 1937
• Cardboard, tempera. 30,7 x 45,9
• The State Russian Museum
• Ж-7128

Вершина Канченджанги (Снежные вершины на бирюзовом небе)

• 1937
• Cardboard, tempera. 30,3 x 45,6
• The State Russian Museum
• Ж-7271

Гималаи (Вершины на бирюзовом небе)

• 1937
• Cardboard, tempera, graphite, gouache. 30,6 x 45,6
• The State Russian Museum
• Ж-7272

Гималаи (Лиловеющие горы)

• 1937
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7195

Гималаи (Синие скалы на розовом небе)

• 1937
• Cardboard, tempera, graphite, gouache. 30,3 x 45,6
• The State Russian Museum
• Ж-7312

Гималаи. Водопад

• 1937
• Cardboard, tempera, graphite, gouache. 30,3 x 45,5
• The State Russian Museum
• Ж-7196

Гималаи. Восход солнца

• 1937
• Cardboard, tempera, graphite, gouache. 30,5 x 45,8
• The State Russian Museum
• Ж-7189

Гималаи. Голубая гряда

• 1937
• Cardboard, tempera, graphite, gouache. 30,8 x 46,2
• The State Russian Museum
• Ж-7176

Нанда-Деви (Горная цепь на закате)

• 1937
• Cardboard, tempera, graphite, gouache. 30,5 x 45,6
• The State Russian Museum
• Ж-7180

Сандахпу (Оранжевые облака над лиловыми скалами)

• 1937
• Cardboard, tempera, graphite, gouache. 30,9 x 46
• The State Russian Museum
• Ж-7143

Himalayas (Albescent Mountaintops)

• 1938
• Cardboard, tempera. 30,5 x 45,7
• The State Russian Museum
• Ж-7348

Himalayas (Blue Mountain - tops at Dawn)

• 1938
• Cardboard, tempera. 30,7 x 45,7
• The State Russian Museum
• Ж-7266

Himalayas (Ice-Covered Slopes)

• 1938
• Cardboard, tempera. 30 x 45,5
• The State Russian Museum
• Ж-7174

Himalayas (Mountaintops Illuminated by the Sun)

• 1938
• Cardboard, tempera. 30,7 x 45,8
• The State Russian Museum
• Ж-7199

Himalayas (Towering Mountaintops)

• 1938
• Cardboard, tempera. 30,6 x 45,8
• The State Russian Museum
• Ж-7277

Гонец (Восстал род на род)

• 1890s
• Paper, ink, nib, graphite pencil.
• The State Russian Museum
• Р-50497

Park in Autumn

• Study
• Early 1900s
• Canvas, oil. 36 x 56
• The State Russian Museum
• Ж-6440

Заморские гости

• 1900–1901
• gouache, ink, nib, bronze paint. 16,6 x 20,3
• The State Russian Museum
• Р-1940

Портрет князя Павла Арсеньевича Путятина (1837-1919)

• 1900
• Graphite pencil. 30,7 x 22,9
• The State Russian Museum
• Р-50518

Ominous

• 1901
• Canvas, oil. 104 x 233,5
• The State Russian Museum
• Ж-1958

Вещие

• 1901
• Paper, graphite pencil, watercolours. 9,2 x 22,8
• The State Russian Museum
• Р-1939

Ладьи

• 1901
• pastel. 27,6 x 27,4
• The State Russian Museum
• Р-1941

Лучник. Воины

• Paper, ink, nib, brush. 11,7 x 8,5
• The State Russian Museum
• Р-50501

Чайки

• 1901
• сharcoal , gouache, bronze paint. 22,2 x 72,9
• The State Russian Museum
• Р-50519

Вороны

• 1902
• сharcoal , pastel.
• The State Russian Museum
• Р-57062

Замок

• Paper, ink, nib, brush. 9,8 x 14,5
• The State Russian Museum
• Р-50210

Church of the Dormition by the Ferry in Pskov

• Early 1900s
• Canvas, oil. 53 x 79
• The State Russian Museum
• Ж-6438

Monastery of the Resurrection in Uglich

• 1904
• Wood, oil. 46 x 83
• The State Russian Museum
• Ж-1977

Stone Age. North. Walrus Hunt

• 1904
• Cardboard, gouache. 12 x 62
• The State Russian Museum
• Ж-1987

Каменный век. Север. Олени

• 1904
• Cardboard, gouache. 12 x 62
• The State Russian Museum
• Ж-1986

Birch Trees

• 1905
• Paper, pastel, tempera, graphite. 51 х 33
• The State Russian Museum
• Ж-1959

Возвращение с охоты

• 1900s
• Graphite and coloured pencils. 20,2 x 26,1
• The State Russian Museum
• Р-50525

На приступ

• paper mounted on cardboard, watercolours, white pigment, oil. 7,8 x 16,6
• The State Russian Museum
• Р-50209

The Serpent Princess

• 1906
• Cardboard, tempera. 50 х 39
• The State Russian Museum
• Ж-1962

One of the demonic motifs that fascinated artists in the middle of the 1900s. He was inspired by the little-known and evidently very ancient subject of half-men/half-serpents, which resembles a tortuous dream about the irresistible power of love. The phosphorescent paints, clouds racing across the sky and the flapping cape of the hero here are contrasted with hardened, lubok-esque "primitive" figures that convey the meaning of the scene, a scene full of "terrible charms and the murmurings of quiet horror".

Стена в горах

• 1906
• Cardboard, tempera, graphite, gouache. 47,2 x 47,2
• The State Russian Museum
• Ж-1992

Tibet. Burning Mountaintop

• 1933 (?)
• Canvas, tempera. 46 x 79
• The State Russian Museum
• Ж-7078

Arhat

• 1935(6?)
• Cardboard, tempera. 30,9 х 45,8
• The State Russian Museum
• Ж-7155

Everest (Jomolungma)

• 1935
• Canvas, tempera. 61 x 152
• The State Russian Museum
• Ж-7099

Fujiyama

• 1935 (6?)
• Cardboard, tempera. 30,6 x 45,7
• The State Russian Museum
• Ж-7315

Fujiyama

• 1935 (6?)
• Cardboard, tempera. 30,8 x 46,1
• The State Russian Museum
• Ж-7223

Fujiyama

• 1935 (6?)
• Cardboard, tempera. 30,6 x 45,8
• The State Russian Museum
• Ж-7136

Lahaul Rocks (Signs ofGesar)

• 1935
• Canvas, tempera. 86 x 123
• The State Russian Museum
• Ж-7106

Images of this sort are typical of Bronze Age rock paintings discovered in India, Kirgizia, Kazakhstan, Mongolia and Western Tibet (Lahaul). The images depict the traditional scene of a round dance in honour of the god Gesar. Roerich returned several times to this character both in his paintings and his writings (The Sword of Gesar Khan). Gesar Khan was a religious hero in a Mongolian-Tibetan epic who cleansed the earth of monsters.

Parinirvana

• 1935 (6?)
• Canvas, tempera. 47 x 79
• The State Russian Museum
• Ж-7077

Гуннская могила

• 1935 (6?)
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7152

Кулута (Горы перед рассветом)

• 1935 (6?)
• Cardboard, tempera, graphite, gouache. 30,7 x 45,8
• The State Russian Museum
• Ж-7310

Ледник Лахул

• 1935 (6?)
• Cardboard, tempera. 30,9 x 45,8
• The State Russian Museum
• Ж-7213

Наран-Обо. Монголия

• 1935 (6?)
• Canvas, tempera. 48 x 63,5
• The State Russian Museum
• Ж-7083

Цейлон (Парусная лодка на песке)

• 1935 (6?)
• Cardboard, tempera, graphite, gouache. 30,5 x 45,6
• The State Russian Museum
• Ж-7215

Эверест (Джомолунгма)

• 1935 (6?)
• Cardboard, tempera, graphite, gouache. 30,3 x 45,5
• The State Russian Museum
• Ж-7168

Золотой склон

• Cardboard, tempera, graphite, gouache. 30,7 x 49,5
• The State Russian Museum
• Ж-7411

Предрассветные горы

• Cardboard, tempera, graphite, gouache. 30,7 x 45,6
• The State Russian Museum
• Ж-7291

Cliffs of Lahaul

• 1937
• Cardboard, tempera. 30,7 x 45,7
• The State Russian Museum
• Ж-7352

Defender (Cloud-Marksman)

• 1937
• Cardboard, tempera. 46 x 79
• The State Russian Museum
• Ж-7073

Evening (Stupas at Blue Mountains)

• 1937
• Cardboard, tempera. 30,8 x 45,8
• The State Russian Museum
• Ж-7159

Stupa. Ladakh

• 1937
• Canvas, tempera. 82 x 123
• The State Russian Museum
• Ж-7105

Гонец (Восстал род на род)

• 1890s
• Paper, ink, nib, graphite pencil.
• The State Russian Museum
• Р-50497

Сходятся старцы

• 1898 (?)
• сharcoal , chalk. 40,3 x 30,9
• The State Russian Museum
• Р-1943

Портрет князя Павла Арсеньевича Путятина (1837-1919)

• 1900
• Graphite pencil. 30,7 x 22,9
• The State Russian Museum
• Р-50518

Вещие

• 1901
• Paper, graphite pencil, watercolours. 9,2 x 22,8
• The State Russian Museum
• Р-1939

Ладьи

• 1901
• pastel. 27,6 x 27,4
• The State Russian Museum
• Р-1941

Лучник. Воины

• Paper, ink, nib, brush. 11,7 x 8,5
• The State Russian Museum
• Р-50501

Чайки

• 1901
• сharcoal , gouache, bronze paint. 22,2 x 72,9
• The State Russian Museum
• Р-50519

Вороны

• 1902
• сharcoal , pastel.
• The State Russian Museum
• Р-57062

Замок

• Paper, ink, nib, brush. 9,8 x 14,5
• The State Russian Museum
• Р-50210

На приступ

• paper mounted on cardboard, watercolours, white pigment, oil. 7,8 x 16,6
• The State Russian Museum
• Р-50209

Каюта

• 1912 (?)
• Tempera, сharcoal . 52 x 69,1
• The State Russian Museum
• Р-57518

Облака

• Paper, pastel. 24,5 x 31,7
• The State Russian Museum
• Р-50213

Древо жизни

• 1913
• Cardboard, gouache, ink, bronze paint, graphite pencil. 65 x 45,3
• The State Russian Museum
• Р-35604

Бояре

• 1914
• paper mounted on cardboard, gouache, ink, , graphite pencil. 32,1 х 48,2
• The State Russian Museum
• Р-57592

Народ

• 1914
• Paper, gouache, graphite pencil. 26,7 x 33,4
• The State Russian Museum
• Р-1938

Скула и Ерошка

• 1914
• Paper, gouache, graphite pencil. 26,8 x 33,4
• The State Russian Museum
• Р-1937

Великанша

• 1915
• Paper, lithography, watercolours.
• The State Russian Museum
• Гр.-27528

Великанша Кримгерд

• 1915
• Paper, ink, watercolours. 20,1 x 26,7
• The State Russian Museum
• Р-50515

Великанша Кримгерд (Эдда)

• 1915
• Paper, .
• The State Russian Museum
• Гр.-41901

Кладбище

• 1915
• Paper, .
• The State Russian Museum
• Гр.-41900