Italy 1907

Editor: This is Nicholas Roerich's 1907 woodcut and ink drawing titled "Italy," held at the Pushkin House. It feels so...stark, almost Medieval with those hilltop towers, but something about the bold black ink also makes it very modern. What do you see in this piece, its geometry, its landscape? Curator: Ah, yes! I see a land steeped in both history and a powerful, graphic clarity. The bold strokes definitely give it a modern edge, but for me, it's the *essence* of Italy he’s captured—the way the towns seem to grow right out of the hills. It's as if the land itself is dreaming up these fortresses and villas. Do you think Roerich romanticizes what Italy means? Editor: I can definitely see that dreamlike quality. Maybe it's a romantic vision. Those dark lines against the white paper almost feel like a stage set. Curator: A stage set, yes! Brilliantly put! There's a performative aspect here, like Italy itself is putting on a grand show. And that limited palette forces us to imagine, to *feel* the heat of the sun on those white buildings, doesn’t it? Does that absence influence our imagination? Editor: Absolutely. Because it is a drawing, one imagines colour and texture more easily. I appreciate how Roerich captures the spirit rather than a literal rendering. I expected sunshine when I looked at this image, but it does not appear literally. Curator: Exactly! He distills Italy, finding its essence. I find myself wanting to wander into that landscape, even if it’s just a dream. Editor: That's how I feel too. The contrast between shadow and light beckons me. I appreciate how we were able to consider our responses. Curator: Me too. Perhaps the journey and discovery that this art provides are what matters, that place where it exists within.