Tibet 1933

Nicholas Roerich made ‘Tibet’ sometime in the 20th century, probably with oil paints. The whole painting exists in this cool, lilac key. It's so consistent that the eye slides across the surface, encountering these peaks and clouds as tonal shifts rather than distinct forms. I love the monumentality that is conveyed with such a pared-down approach to color and form. The paint application looks thin, like it was applied in layers, with a brush, maybe even scrubbed in places. It’s less about concealing the process, and more about reducing the world to its essential elements. Take a look at the temple-like structure in the bottom right, it is made of blocks of light and shade, its sharp angles standing out against the soft forms of the mountains and sky. The way Roerich uses geometric abstraction reminds me of the paintings of Lawren Harris, another artist who was interested in spirituality, transcendence and the North. For both artists, landscape becomes a space for contemplation.