Upcoming 1907

Curator: Upon first glance, I find myself drawn to the almost tangible weight of this oil painting. The raw texture against what appears to be a gold-leaf backdrop makes it both arresting and quite puzzling in its execution. Editor: And that is Nicholas Roerich’s ‘Upcoming’ created in 1907. It’s currently held in the Perm State Art Gallery in Russia, a work that speaks volumes about Roerich's deep engagement with religious and historical themes of his time. Curator: Religious iconography, right. Given the subject matter and stylization it does feel very tied to Byzantine traditions. Looking closer at how he handles the medium though, I wonder about the conditions under which Roerich was making this painting, that ground looks very coarse, maybe he was short of canvas? Editor: Roerich worked across various mediums and explored a rich tapestry of cultural influences, so what seems coarse could actually be an intentional choice. In this instance, by revisiting Byzantine art conventions he connects the rising nationalist aspirations of the early 20th century with an imagined, idealized past. Curator: Yes, an idealized past perhaps fabricated and certainly, aestheticized for popular appeal. Did he employ assistants? The consistency seems varied and, depending on the production line perhaps this allowed for different specialists in iconographic depictions to apply themselves to such important and politically sensitive work. Editor: What's interesting is Roerich’s commitment to making art accessible and meaningful for a broad audience. Here the choice of a somewhat flattened perspective serves less as a comment on material constraints and more a conscious echo of Byzantine icon painting. The content reinforces Russia’s spiritual foundations, thereby creating art that can serve public morale. Curator: Absolutely, the choice of this ancient artistic lineage is clearly politically motivated and underscores the narratives perpetuated by the state about its divine authority. Yet at the level of manufacture, this iconography serves its other master in material consumption. That very particular ochre paint, with those pigments could tell such a powerful and differing story about exploitation across territories under Imperial Russian control at that time. Editor: Roerich's 'Upcoming' certainly invites us to ponder not only the spiritual messages embedded within but also the complex cultural and socio-political landscape in which it was conceived. Curator: Agreed, the materiality speaks just as loud as the manifest iconography. Together these speak of the conditions of its time and after all, perhaps Roerich also saw that ‘coming’.