Battle in the Heavens 1912

Editor: We're looking at Nicholas Roerich’s "Battle in the Heavens," painted in 1912 using oil paints. I'm struck by how dreamlike the clouds are; they almost feel weighty and tangible, unlike typical airy clouds. What catches your eye? Curator: I find the materiality of Roerich's paints particularly interesting here. The way he layers the pigments creates a palpable sense of depth, doesn't it? We're seeing a real engagement with the physical properties of the medium itself. This isn't just about depicting a scene; it’s about the *doing* of the painting. Editor: Yes, definitely. It's not just representational. There is a tension between painting and process... but it makes me consider something else. Is Roerich commenting on labor somehow by creating this monumental landscape with such care and obvious effort? Curator: Absolutely. The conscious construction of the painting reflects the societal construct and Roerich's historical placement in the Russian avant-garde scene that directly links artistic output with political activism and social reform. The repetitive brushstrokes become a form of labor themselves. Editor: So, are you saying that his act of physically creating this “battle in the heavens” challenges the accepted understanding of fine art practices as removed from the sphere of regular industry or labor? Curator: Exactly! And note the blending of high art—landscape painting—with, what we might term then, the more labor-intensive ‘craft’ of pure painting. It undermines those historical separations and challenges our assumptions. Editor: That's fascinating. So, beyond just a landscape, this work reveals so much about art's purpose within society. Curator: Precisely. It encourages us to see the social and economic realities embedded in every brushstroke. Editor: I'll certainly never look at a landscape in quite the same way! Thanks for providing some context.