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

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

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

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

Earthly Spell

• 1907
• paper mounted on cardboard, tempera, pastel. 49,6 x 64
• The State Russian Museum
• Ж-1966

Elijah the Prophet

• 1907
• Canvas, pastel, tempera. 82 x 88
• The State Russian Museum
• ЖБ-596

Городок

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

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

Пейзаж с валунами

• Cardboard, pastel. 47 x 47
• The State Russian Museum
• Ж-6947

Ростов Великий. Кремль Церковь Иоанна Богослова

• 1909
• Cardboard, oil, tempera. 38 x 28,8
• The State Russian Museum
• Ж-7906

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

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).

Battle in the Heavens

• 1912
• Cardboard, tempera. 66 x 95
• The State Russian Museum
• Ж-1978

Nicholas Roerich was interested in mysticism and a passionate believer in the ideas of «all-unity» and «Russocosmism». One of his favourite motifs was the ancient north — a bleak and uninhabited land of mighty hills and cold, clear lakes. Roerich’s paintings were regarded as insights into the archaic period of Indo-European civilisation. One of his finest works is Celestial Battle. Permeated with the divine light and «programmed» with the future history of the earth, the cumuli swirl above the distant figures of demons, messengers, knights on horseback, seafarers, sages and the silhouettes of the «prophecy stones». Roerich portrays a hypostasis of a former golden age, when man lived in harmony with himself and the cosmos. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 265.

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

Mill in the Mountains

• Set designs for the production of Henrik Ibsen’s drama Peer Gynt at the Moscow Art Theater. 1912
• 1912
• Cardboard, tempera. 66 x 88
• The State Russian Museum
• Ж-1965

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

Облака

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

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

Древо жизни

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

Посольство великого князя московского Симеона Ивановича в Твери у великого князя Александра Михайловича. 1347 год

• 1913
• paper mounted on cardboard, tempera, bronze paint. 52,9 x 39,9
• The State Russian Museum
• r-57593

Прибытие князя Михаила Гланды Камбилы на Русь, в Великий Новгород

• 1913
• paper mounted on cardboard, tempera. 53,3 x 39,9
• The State Russian Museum
• Р-60251

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

Procopius the Righteous Praying for Unknown Travellers

• 1914
• Tempera, cardboard. 70 х 105
• The State Russian Museum
• Ж-1980

Procopius the Righteous was a saint of the Russian Orthodox Church. He was born into a prominent Prussian Roman Catholic family. He travelled as a merchant to Veliky Ustyug (13th century), later living in Novgorod, where he converted to Orthodoxy and entered a monastery. Because of his sufferings he was given the gift of prophesy and saving people from destruction. According to the legend about Procopius he had a favourite place on a high bank of the River Sukhon, not far from Veliky Ustyug, where he loved to look into the distance from the bluff and pray for people sailing along the restless river. It was here that he was buried, according to his wishes.

The Messenger

• 1914
• Cardboard, pastel, сharcoal . 75 x 89
• The State Russian Museum
• Ж-1976

Бояре

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

Двор князя Галицкого

• 1914
• paper mounted on cardboard, watercolours, tempera. 50 х 68,9
• The State Russian Museum
• Р-53945

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

The Decrees of Heaven

• 1915
• Cardboard, tempera. 75 x 97,5
• The State Russian Museum
• Ж-1991

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

Замок у моря

• 1910s
• Paper, gouache. 21,8 x 26,2
• The State Russian Museum
• Р-50511

Кладбище

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

После боя бывает победа

• 1915
• Paper, .
• The State Russian Museum
• Гр.-27529

Скит (пейзаж)

• 1915
• Graphite pencil. 16,2 x 21,8
• The State Russian Museum
• Р-59888

Тайник

• 1915
• Paper, .
• The State Russian Museum
• Гр.-40144

Холмистый пейзаж

• 1910s
• Wood, oil. 24 x 33
• The State Russian Museum
• ЖБ-1212

Холмы

• 1915
• Cardboard, tempera. 53 x 80
• The State Russian Museum
• Ж-5502

Shadows

• 1916
• Cardboard, tempera, graphite, gouache. 49 x 65
• The State Russian Museum
• Ж-11244

Three Joys

• 1916
• Tempera, canvas. 130 х 175
• The State Russian Museum
• Ж-7769

«Черный» город

• 1916
• paper mounted on cardboard, gouache. 48,3 x 63,5
• The State Russian Museum
• Р-53034

Берег

• 1916
• Canvas, tempera, graphite, gouache. 36 x 80
• The State Russian Museum
• Ж-1984

Скалистый берег моря

• 1916
• Canvas, tempera. 50 x 77
• The State Russian Museum
• Ж-6439

Holy Island

• 1917
• Canvas, tempera. 49 x 77
• The State Russian Museum
• Ж-5503

Первая стрела

• 1917
• Canvas, tempera. 49,5 x 77
• The State Russian Museum
• Ж-11873

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.

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 45,8
• The State Russian Museum
• Ж-7136

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

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

Гималаи. Туман

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

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

Облака на вершинах. Гималаи

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

Предрассветные горы

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

Туман в горах. Гималаи

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

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

Himalayas. Blue Cliffs

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

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

Вершина Канченджанги (Снежные вершины на бирюзовом небе)

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

Вечерние горы

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

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

Граница Тибета (Снежное пространство)

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

Громады синих скал

• 1937
• Cardboard, tempera, graphite, gouache. 30,8 x 45,8
• The State Russian Museum
• Ж-7394

Гундла (Светлые вершины)

• 1937
• Cardboard, tempera, graphite, gouache. 30,7 x 45,8
• The State Russian Museum
• Ж-7118

Кулута (Синие горы на закате)

• 1937
• Cardboard, tempera, graphite, gouache. 30,6 x 45,8
• The State Russian Museum
• Ж-7263

Монголия. Юрты

• 1937
• Cardboard, tempera, graphite, gouache. 30,4 x 45,3
• The State Russian Museum
• Ж-7111

Нанда-Деви (Горная цепь на закате)

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

Обледенелые скалы, освещенные розовым светом

• 1937
• Cardboard, tempera, graphite, gouache. 31 x 46,2
• The State Russian Museum
• Ж-7241

Пустыня (Дали)

• 1937
• Cardboard, tempera, graphite, gouache. 31,2 x 46,3
• The State Russian Museum
• Ж-7119

Сандахпу (Оранжевые облака над лиловыми скалами)

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

Сиреневый закат. Скалы

• 1937
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7249

Скалистые вершины в лучах заходящего солнца

• 1937
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7359

Склон горного хребта

• 1937
• Cardboard, tempera, graphite, gouache. 31 x 46
• The State Russian Museum
• Ж-7232

Снежная страна

• 1937
• Cardboard, tempera, graphite, gouache. 30,5 x 45,8
• The State Russian Museum
• Ж-7293

Туманы (Розовые вершины)

• 1937
• Cardboard, tempera, graphite, gouache. 30,7 x 45,7
• The State Russian Museum
• Ж-7280

Чортен Ладак (Ступа)

• 1937
• Cardboard, tempera, graphite, gouache. 30,3 x 34,2
• The State Russian Museum
• Ж-7148

Ellora

• 1938
• Canvas, tempera. 46 x 79
• The State Russian Museum
• Ж-7071

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

Kangchenjunga (Azure Sky Above the Mountaintops)

• 1938
• Cardboard, tempera. 30,7 x 45,7
• The State Russian Museum
• Ж-7205

Krishna

• 1938
• Cardboard, tempera. 31,1 x 45,8
• The State Russian Museum
• Ж-7158

The Prophet (Mohammed on Mount Hira)

• 1938
• Canvas, tempera. 87 x 122
• The State Russian Museum
• Ж-7104

Mohammed, or Muhammad, (circa 570–632) is revered as the Prophet in Islam. After receiving a revelation from Allah – the Koran – he became a preacher of the new faith. Roerich’s painting is devoted to Mohammed’s vision. According to legend this took place on Mount Hira, near Mecca, where the Angel Jibreel (Gabriel) appeared to him.

Вечер

• 1938
• Cardboard, tempera, graphite, gouache. 30,6 x 58
• The State Russian Museum
• Ж-7307

Вечер (Золотая туча над синей вершиной)

• 1938
• Cardboard, tempera. 30,5 x 46,1
• The State Russian Museum
• Ж-7122

Гималаи (Вершина на рассвете)

• 1938
• Cardboard, tempera. 30,5 x 45,7
• The State Russian Museum
• Ж-7335

Гималаи (Гаснущие вершины)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7311

Гималаи (Гребни гор и облака)

• 1938
• Cardboard, tempera, graphite, gouache. 30,8 x 45,5
• The State Russian Museum
• Ж-7186

Гималаи (Золотистая вершина и облако)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,8
• The State Russian Museum
• Ж-7408

Гималаи (Золотистый пик на розовом небе)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7422

Гималаи (Золотое облачко)

• 1938
• Cardboard, tempera, graphite, gouache. 30,6 x 45,6
• The State Russian Museum
• Ж-7200

Гималаи (Облака над горной грядой)

• 1938
• Cardboard, tempera, graphite, gouache. 30,7 x 45,7
• The State Russian Museum
• Ж-7350

Гималаи (Облако над уступами)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,8
• The State Russian Museum
• Ж-7393

Гималаи (Одинокая вершина на рассвете)

• 1938
• Cardboard, tempera, graphite, gouache. 30,3 x 45,6
• The State Russian Museum
• Ж-7191

Гималаи (Острые вершины на фоне золотого неба)

• 1938
• Cardboard, tempera, graphite, gouache. 30,6 x 45,6
• The State Russian Museum
• Ж-7162

Гималаи (Отроги горного хребта)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,6
• The State Russian Museum
• Ж-7388

Гималаи (Отроги синих гор ночью)

• 1938
• Cardboard, tempera, graphite, gouache. 30,9 x 45,9
• The State Russian Museum
• Ж-7227

Гималаи (Рассвет в горах)

• 1938
• Cardboard, tempera, graphite, gouache. 30,3 x 45
• The State Russian Museum
• Ж-7154

Гималаи (Рассвет в ущелье)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7402

Гималаи (Рассвет)

• 1938
• Cardboard, tempera, graphite, gouache. 30,6 x 45,5
• The State Russian Museum
• Ж-7192

Гималаи (Расходящиеся облака)

• 1938
• Cardboard, tempera, graphite, gouache. 30 x 45,7
• The State Russian Museum
• Ж-7197

Гималаи (Река, вьющаяся между гор)

• 1938
• Cardboard, tempera, graphite, gouache. 30,7 x 45,9
• The State Russian Museum
• Ж-7237

Гималаи (Рождение облаков)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7376

Гималаи (Розовые вершины на фоне бирюзового неба)

• 1938
• Cardboard, tempera, graphite, gouache. 30,7 x 46
• The State Russian Museum
• Ж-7224

Гималаи (Розовый туман)

• 1938
• Cardboard, tempera, graphite, gouache. 30,6 x 46
• The State Russian Museum
• Ж-7366

Гималаи (Синие вершины в тумане)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7386

Гималаи (Синий пик)

• 1938
• Cardboard, tempera, graphite, gouache. 30,6 x 45,7
• The State Russian Museum
• Ж-7273

Гималаи (Снега, сияющие на гаснущем небе)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7181

Гималаи (Снежные вершины на фоне голубого неба)

• 1938
• Cardboard, tempera, graphite, gouache. 31 x 46,2
• The State Russian Museum
• Ж-7225

Гималаи (Снежные вершины)

• 1938
• Cardboard, tempera, graphite, gouache. 30,4 x 45,7
• The State Russian Museum
• Ж-7190

Гималаи (Уступы скал)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,6
• The State Russian Museum
• Ж-7245

Гималаи (Утро)

• 1938
• Cardboard, tempera, graphite, gouache. 30,4 x 45,8
• The State Russian Museum
• Ж-7177

Кампа Дзонг (Розовая вершина)

• 1938
• Cardboard, tempera, graphite, gouache. 30,6 x 45,7
• The State Russian Museum
• Ж-7150

Монастырь. Монголия

• 1938
• Cardboard, tempera, gouache. 30,7 x 45,7
• The State Russian Museum
• Ж-7114

Монгольские холмы

• 1938
• Cardboard, tempera, graphite, gouache. 30,3 x 45,9
• The State Russian Museum
• Ж-7125

Пустыня (Лиловые горы и золотистое небо)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,8
• The State Russian Museum
• Ж-7344

Пустыня (Освещенная вершина)

• 1938
• Cardboard, tempera, graphite, gouache. 30,4 x 45,7
• The State Russian Museum
• Ж-7182

Тибет

• 1938
• Canvas, tempera. 46 x 79
• The State Russian Museum
• Ж-7074

Тибет (Звездная ночь в горах)

• 1938
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7207

Himalayas (Peak Turning Blue Against a Purple Sky)

• 1939
• Cardboard, tempera. 30,5 x 45,7
• The State Russian Museum
• Ж-7365

Magic Carpet

• 1939
• Canvas, tempera. 46 x 79
• The State Russian Museum
• Ж-7069

Roerich painted the subject of the magic carpet more than once, using the folklore of various peoples. In this picture from 1936 he turned to the legend of King Solomon flying across the expanses of Asia in a wonderful flying apparatus in the form of a magic carpet. According to a tradition that the artist narrated in his book Shambhala (published by World League of Culture in 1932), Solomon would fly to the mountains of Asia to rest from affairs and for prayer.

Tower of Terror

• 1939
• Canvas, tempera. 47 x 79
• The State Russian Museum
• Ж-7080

Гималаи (Голубые горы)

• 1939
• Canvas, tempera. 47 x 79
• The State Russian Museum
• Ж-7070

Гималаи (Неприступная горная гряда)

• 1939
• Cardboard, tempera, graphite, gouache. 30,6 x 45,7
• The State Russian Museum
• Ж-7269

Chatu Gompa.Tibet

• 1940
• Canvas, tempera. 66 x 122
• The State Russian Museum
• Ж-7091

Chatu Gompa was a monastery on the Brahmaputra inTibet.

Николай Рерих. В поисках Шамбалы. СПб, 2020. С. 96.

Midnight

• 1940
• Canvas, tempera. 76 x 123
• The State Russian Museum
• Ж-7107

The painting reflects one of Roerich’s ideas about Shambhala as a celestial sanctuary: “[...] it has nothing in common with our earth [...] Just very occasionally you can make out the radiance of Shambhala in the far north,” he wrote in his book Shambhala.

The Fire of Victory (Sentinel Flames on Gobi Towers)

• 1940
• Canvas, tempera. 61 x 122
• The State Russian Museum
• Ж-7086

An ancient tower, resembling a drinking-cup with a fire, stands in the foreground, with Timur (Tamerlane, 1336–1405) and his horse at its foot. During Tamerlane’s time watchtowers like these were called “Tamerlane’s flowers”. Signal fires from the towers were used to transmit important information, including about the outbreak of war and victories. In The Fire of Victory (1940) a big fire blazes on a watchtower in the darkness and warns of an approaching threat (war against Nazism).

The Messenger from the Himalayas

• 1940
• Cardboard, tempera. 30,4 x 46,1
• The State Russian Museum
• Ж-7217

The Treasures of Snow (Kangchenjunga)

• 1940
• Canvas, tempera. 76 x 122
• The State Russian Museum
• Ж-7102

Брамапутра

• 1930-1940s
• Cardboard, tempera. 30,5 x 45,6
• The State Russian Museum
• Ж-7209

Вечер

• 1940
• Canvas, tempera, graphite, gouache. 47 x 80
• The State Russian Museum
• Ж-7079

Вечер (Синие горы на фоне оранжевого неба)

• 1940
• Cardboard, tempera, graphite, gouache. 30,2 x 45,8
• The State Russian Museum
• Ж-7239

Гималаи (Горы в голубом тумане)

• 1940
• Cardboard, tempera, graphite, gouache. 30,9 x 46
• The State Russian Museum
• Ж-7123

Гималаи (Закат)

• 1940
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7124

Гималаи (Золотистые облака на лиловом небе)

• 1940
• Cardboard, tempera, graphite, gouache. 30,4 x 45,6
• The State Russian Museum
• Ж-7417

Гималаи (Лиловые горы на фоне закатного неба)

• 1940
• Cardboard, tempera, graphite, gouache. 30,3 x 45,6
• The State Russian Museum
• Ж-7414

Гималаи (Рассвет)

• 1940
• Cardboard, tempera, graphite, gouache. 30,5 x 45,9
• The State Russian Museum
• Ж-7194

Гималаи (Розовый пик)

• 1940
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7347

Гималаи (Снега, озаренные золотистым светом)

• 1940
• Cardboard, tempera, graphite, gouache. 30,3 x 45,6
• The State Russian Museum
• Ж-7278

Льды

• 1940
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7270

Ночь

• 1940
• Cardboard, tempera, gouache. 30,7 x 46
• The State Russian Museum
• Ж-7161

Скалы в лучах заката

• 1930-1940s
• Cardboard, tempera, gouache, сharcoal . 30,7 x 45,5
• The State Russian Museum
• Ж-7420

Снега в горах

• 1930-1940s
• Cardboard, tempera, gouache, сharcoal . 31 x 46
• The State Russian Museum
• Ж-7166

Снежный путь

• 1940
• Cardboard, tempera, graphite, gouache. 31 x 45,6
• The State Russian Museum
• Ж-7214

Утро

• 1940
• Cardboard, tempera, graphite, gouache. 30,8 x 45,7
• The State Russian Museum
• Ж-7379

Forging the Sword (Nibelungs)

• 1941
• Canvas, tempera. 92 x 93
• The State Russian Museum
• Ж-7103

This painting was created in the year that Nazi Germany attacked the Soviet Union, and the forging of a sword can here be seen as preparation for war by the descendants of the Nibelungs, an ancient people who, according to tradition, lived in the lands of what is now the city of Worms, on the left bank of the Rhine. A legend attached to the Nibelungs tells how they possessed incalculable wealth in gold and weapons.

Himalayas (Black Peak)

• 1941
• Cardboard, tempera. 30,3 x 45,5
• The State Russian Museum
• Ж-7202

Nanda Devi

• 1941
• Canvas, tempera. 61 x 123
• The State Russian Museum
• Ж-7090

Гималаи (Вершины гор освещенные солнцем)

• 1941
• Cardboard, tempera, graphite, gouache. 30,8 x 45,8
• The State Russian Museum
• Ж-7218

Гималаи (Голубая скала на заре)

• 1941
• Cardboard, tempera, graphite, gouache. 30,7 x 45,6
• The State Russian Museum
• Ж-7399

Гималаи (Горные пики в сиреневых сумерках

• 1941
• Cardboard, tempera, graphite, gouache. 30,6 x 46,1
• The State Russian Museum
• Ж-7145

Гималаи (Горный пик на рассвете)

• 1941
• Cardboard, tempera, graphite, gouache. 30,3 x 45,7
• The State Russian Museum
• Ж-7250

Гималаи (Горы, освещенные закатным солнцем)

• 1941
• Cardboard, tempera, graphite, gouache. 30,9 x 45,9
• The State Russian Museum
• Ж-7126

Гималаи (Золотая скала)

• 1941
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7112

Гималаи (Золотое небо над ледником)

• 1941
• Cardboard, tempera, graphite, gouache. 30,6 x 45,8
• The State Russian Museum
• Ж-7316

Гималаи (Золотое облако над Синим хребтом)

• 1941
• Cardboard, tempera, graphite, gouache. 30,5 x 45,8
• The State Russian Museum
• Ж-7115

Гималаи (Ледник)

• 1941
• Cardboard, tempera, graphite, gouache. 30,4 x 45,6
• The State Russian Museum
• Ж-7276

Гималаи (Рассвет, окрасивший вершины)

• 1941
• Cardboard, tempera, graphite, gouache. 30,6 x 45,6
• The State Russian Museum
• Ж-7357

Гималаи (Розовые вершины)

• 1941
• Canvas, tempera, graphite, gouache. 30,4 x 45,8
• The State Russian Museum
• Ж-7157

Гималаи (Синий перевал)

• 1941
• Cardboard, tempera, graphite, gouache. 30,4 x 45,8
• The State Russian Museum
• Ж-7368

Гималаи (Утреннее солнце на вершинах)

• 1941
• Cardboard, tempera, graphite, gouache. 30,8 x 45,7
• The State Russian Museum
• Ж-7131

Гималаи (Холодные вершины)

• 1941
• Cardboard, tempera, graphite, gouache. 30,3 x 45,6
• The State Russian Museum
• Ж-7204

Чомо-Лхари (Вершины, освещенные солнцем)

• 1941
• Cardboard, tempera, graphite, gouache. 30,4 x 45,7
• The State Russian Museum
• Ж-7240

Чомо-Лхари (Голубой рассвет)

• 1941
• Cardboard, tempera, graphite, gouache. 30,7 x 45,6
• The State Russian Museum
• Ж-7265

Чомо-Лхари (Серебристые облака на горах)

• 1941
• Cardboard, tempera, graphite, gouache. 30,4 x 45,7
• The State Russian Museum
• Ж-7415

Boris and Gleb

• 1942
• Tempera, canvas. 61 х 123
• The State Russian Museum
• Ж-7089

St Boris and St Gleb were two sons of Grand Prince Vladimir, the ruler of Kievan Rus who accepted Christianity in 988. Following Christian teachings, Boris and Gleb would not go against their elder brother; they prevented his murder, and thereby strengthened the principles of Orthodoxy that had come to replace paganism with its harsh and savage customs. Because of their many good works the two brothers, who were murdered in 1015, were the first princes to be canonized by the Russian and Byzantine Churches.

Chink in the Cliff

• 1942
• Cardboard, tempera. 30,5 x 45,7
• The State Russian Museum
• Ж-7421

Igor’s Campaign

• 1942
• Tempera, canvas. 62 х 122
• The State Russian Museum
• Ж-7092

The campaign of Igor Svyatoslavovich of Novgorod-Seversky against the Polovtsians in 1185, which formed the basis of The Tale of Igor’s Campaign (Slovo o polku Igoreve), a famous work of Ancient Russian literature, was used by Roerich when painting this picture in 1942, at the height of the Second World War.

Silhouette of Blue Moun tains Against a Golden Cloud

• 1942
• Cardboard, tempera. 30,7 x 45,9
• The State Russian Museum
• Ж-7361

Вершина на золотом небе

• 1942
• Cardboard, tempera, graphite, gouache. 30,6 x 45,7
• The State Russian Museum
• Ж-7285

Вершина на солнце

• 1942
• Cardboard, tempera, graphite, gouache. 30,5 x 45,8
• The State Russian Museum
• Ж-7328

Гималаи. Горная цепь

• 1942
• Cardboard, tempera, graphite, gouache. 30,9 x 45,2
• The State Russian Museum
• Ж-7147

Гималаи. Облака

• 1942
• Cardboard, tempera, graphite, gouache. 30,5 x 45,8
• The State Russian Museum
• Ж-7121

Гималаи. Перед восходом

• 1942
• Canvas, tempera, graphite, gouache. 47 x 79
• The State Russian Museum
• Ж-7081

Ледник

• 1942
• Cardboard, tempera, graphite, gouache. 30,9 x 45,8
• The State Russian Museum
• Ж-7228

Ледник, освещаемый луной

• 1942
• Cardboard, tempera, graphite, gouache. 30,3 x 45,5
• The State Russian Museum
• Ж-7410

Лиловые горы на фоне желтого неба

• 1942
• Cardboard, tempera, graphite, gouache. 30,5 x 45,8
• The State Russian Museum
• Ж-7282

Луна над вершинами

• 1942
• Cardboard, tempera, graphite, gouache. 30,7 x 45,6
• The State Russian Museum
• Ж-7343

Освещенное облако над темными скалами

• 1942
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7395

Пламенеющий закат

• 1942
• Cardboard, gouache, tempera. 30,6 x 45,7
• The State Russian Museum
• Ж-7320

Beasts Under a Spell

• 1943
• Canvas, tempera. 85 x 156
• The State Russian Museum
• Ж-7100

Roerich’s pantheistic beliefs can be seen in this portrayal of the subject where even stones turn into bears under the influence (“enchantment”, hence “spell”) of music, and all of nature is resplendent with beauty and peace.

Glory of the Himalayas

• 1943
• Canvas, tempera. 37,5 x 122
• The State Russian Museum
• Ж-7085

Guerillas

• 1943
• Cardboard, tempera, graphite, gouache. 30,7 x 46
• The State Russian Museum
• Ж-7233

Guerrillas

• 1943
• Canvas, tempera. 46 х 80
• The State Russian Museum
• Ж-7072

Himalayas (Gloomy Cliff)

• 1943
• Cardboard, tempera. 30,4 x 45,7
• The State Russian Museum
• Ж-7183

The Battle of Mstislav and Rededya

• 1943
• Tempera, canvas. 57 х 123
• The State Russian Museum
• Ж-7088

Roerich depicts an incident from the 11th-century Primary Chronicle (Povest’ vremennykh let) that told of a battle between Prince Mstislav Vladimirovich and the Circassian Prince Rededya, the leader of the Kasogi people. The picture was painted in 1943, during the Second World War.

Himalayas. Nanda Devi

• 1944
• Canvas, tempera. 95 x 156
• The State Russian Museum
• Ж-7097

Mountain Lake. Baralacha Pass

• 1944
• Canvas, tempera. 61 x 123
• The State Russian Museum
• Ж-7087

Reflections of the Sunset on Snowy Mountaintops

• 1944
• Cardboard, tempera. 30,6 x 45,6
• The State Russian Museum
• Ж-7345

Holy Spring

• 1945
• Canvas, tempera. 56,5 x 122
• The State Russian Museum
• Ж-7093

Mountain Lake at Sunset

• 1945
• Cardboard, tempera. 30,5 x 45,7
• The State Russian Museum
• Ж-7406

Кашмир. Горное озеро

• 1945
• Cardboard, tempera, graphite, gouache. 30,8 x 46,1
• The State Russian Museum
• Ж-7141

Клубящееся зарево

• 1945
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7342

Откосы скал

• 1945
• Cardboard, tempera, graphite, gouache. 45,5 x 30,6
• The State Russian Museum
• Ж-7362

Пещеры

• 1945
• Cardboard, tempera, graphite, gouache. 30,8 x 45,8
• The State Russian Museum
• Ж-7109

Синеющие вершины

• 1945
• Cardboard, tempera, graphite, gouache. 30,4 x 45,7
• The State Russian Museum
• Ж-7259

Синяя гора

• 1945
• Cardboard, tempera, graphite, gouache. 30,5 x 45,6
• The State Russian Museum
• Ж-7116

Туман в горах. Нанда-Деви

• 1945
• Cardboard, tempera, graphite, gouache. 30,6 x 45,8
• The State Russian Museum
• Ж-7142

Гималаи (Вершина в пламенеющем закате)

• 1946
• Cardboard, tempera, graphite, gouache. 30,6 x 45,5
• The State Russian Museum
• Ж-7400

Гималаи (Вершина в тумане)

• 1946
• Cardboard, tempera, graphite, gouache. 30,5 x 45,6
• The State Russian Museum
• Ж-7287

Гималаи (Вершины гор. Облака)

• 1946
• Cardboard, tempera, graphite, gouache. 30,5 x 45,5
• The State Russian Museum
• Ж-7330

Гималаи (Глетчер на фоне горной гряды)

• 1946
• Cardboard, tempera, gouache. 30,6 x 45,8
• The State Russian Museum
• Ж-7332

Гималаи (Золотая скала)

• 1946
• Cardboard, tempera, gouache. 30,7 x 45,5
• The State Russian Museum
• Ж-7384

Гималаи (Зубцы гор на фоне желтого неба)

• 1946
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7367

Гималаи (Облака, клубящиеся над хребтом)

• 1946
• Cardboard, tempera, graphite, gouache. 30,3 x 45,5
• The State Russian Museum
• Ж-7298

Гималаи (Облако над горными пиками)

• 1946
• Cardboard, tempera, graphite, gouache. 30,5 x 45,7
• The State Russian Museum
• Ж-7331

Гималаи (Просвет желтого неба в горах)

• 1946
• Cardboard, gouache, tempera. 30,5 x 45,5
• The State Russian Museum
• Ж-7358

Гималаи (Рассвет в горах. Облака)

• 1946
• Cardboard, tempera, graphite, gouache. 30,7 x 45,8
• The State Russian Museum
• Ж-7135

Гималаи (Розовые облака. Закат)

• 1946
• Cardboard, tempera, graphite, gouache. 30,2 x 45,3
• The State Russian Museum
• Ж-7169

Гималаи (Скалистая вершина. Закат)

• 1946
• Cardboard, tempera, graphite, gouache. 30,7 x 46
• The State Russian Museum
• Ж-7216

Гималаи (Скалистые вершины на фоне синего неба)

• 1946
• Cardboard, tempera, graphite, gouache. 30,6 x 45,6
• The State Russian Museum
• Ж-7416

Кришна

• 1946
• Canvas, tempera. 79 x 154
• The State Russian Museum
• Ж-7096

Lights on the Ganges

• 1947
• Canvas, tempera. 82 x 137
• The State Russian Museum
• Ж-7101

«Remember!»

• 1947
• Canvas, tempera. 92 x 153
• The State Russian Museum
• Ж-7095

Пылающий закат

• 1947
• Cardboard, tempera, graphite, gouache. 30,4 x 45,7
• The State Russian Museum
• Ж-7360

Твердыня (Лхаса)

• 1947
• Canvas, tempera. 94,5 x 156,5
• The State Russian Museum
• Ж-7098

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

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

Посольство великого князя московского Симеона Ивановича в Твери у великого князя Александра Михайловича. 1347 год

• 1913
• paper mounted on cardboard, tempera, bronze paint. 52,9 x 39,9
• The State Russian Museum
• r-57593

Прибытие князя Михаила Гланды Камбилы на Русь, в Великий Новгород

• 1913
• paper mounted on cardboard, tempera. 53,3 x 39,9
• The State Russian Museum
• Р-60251

Procopius the Righteous Praying for Unknown Travellers

• 1914
• Tempera, cardboard. 70 х 105
• The State Russian Museum
• Ж-1980

Procopius the Righteous was a saint of the Russian Orthodox Church. He was born into a prominent Prussian Roman Catholic family. He travelled as a merchant to Veliky Ustyug (13th century), later living in Novgorod, where he converted to Orthodoxy and entered a monastery. Because of his sufferings he was given the gift of prophesy and saving people from destruction. According to the legend about Procopius he had a favourite place on a high bank of the River Sukhon, not far from Veliky Ustyug, where he loved to look into the distance from the bluff and pray for people sailing along the restless river. It was here that he was buried, according to his wishes.

Двор князя Галицкого

• 1914
• paper mounted on cardboard, watercolours, tempera. 50 х 68,9
• The State Russian Museum
• Р-53945

Three Joys

• 1916
• Tempera, canvas. 130 х 175
• The State Russian Museum
• Ж-7769

Первая стрела

• 1917
• Canvas, tempera. 49,5 x 77
• The State Russian Museum
• Ж-11873

Boris and Gleb

• 1942
• Tempera, canvas. 61 х 123
• The State Russian Museum
• Ж-7089

St Boris and St Gleb were two sons of Grand Prince Vladimir, the ruler of Kievan Rus who accepted Christianity in 988. Following Christian teachings, Boris and Gleb would not go against their elder brother; they prevented his murder, and thereby strengthened the principles of Orthodoxy that had come to replace paganism with its harsh and savage customs. Because of their many good works the two brothers, who were murdered in 1015, were the first princes to be canonized by the Russian and Byzantine Churches.

Igor’s Campaign

• 1942
• Tempera, canvas. 62 х 122
• The State Russian Museum
• Ж-7092

The campaign of Igor Svyatoslavovich of Novgorod-Seversky against the Polovtsians in 1185, which formed the basis of The Tale of Igor’s Campaign (Slovo o polku Igoreve), a famous work of Ancient Russian literature, was used by Roerich when painting this picture in 1942, at the height of the Second World War.

Beasts Under a Spell

• 1943
• Canvas, tempera. 85 x 156
• The State Russian Museum
• Ж-7100

Roerich’s pantheistic beliefs can be seen in this portrayal of the subject where even stones turn into bears under the influence (“enchantment”, hence “spell”) of music, and all of nature is resplendent with beauty and peace.

The Battle of Mstislav and Rededya

• 1943
• Tempera, canvas. 57 х 123
• The State Russian Museum
• Ж-7088

Roerich depicts an incident from the 11th-century Primary Chronicle (Povest’ vremennykh let) that told of a battle between Prince Mstislav Vladimirovich and the Circassian Prince Rededya, the leader of the Kasogi people. The picture was painted in 1943, during the Second World War.

Holy Spring

• 1945
• Canvas, tempera. 56,5 x 122
• The State Russian Museum
• Ж-7093

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