Three pleasures 1916

Editor: This is Nicholas Roerich's 1916 painting, "Three Pleasures," done in oil. There’s such an interesting flattening of space here. It feels almost like looking at a stage set. What strikes you when you look at it? Curator: What I find particularly compelling is how Roerich interweaves mythology, cultural identity, and spirituality. Considering it was painted in 1916, on the brink of immense social upheaval in Russia, I wonder what Roerich, as an artist deeply involved in the search for a spiritual path for Russia, intended to convey through his focus on what seems like archaic themes. Editor: Do you think the choice of "pleasures" is important here? Curator: Absolutely. Pleasure, especially during times of crisis, can be interpreted in numerous ways. Is Roerich idealizing a simpler, perhaps pre-industrial or pre-revolutionary, way of life, thereby criticizing contemporary society? Or, are these pleasures meant to serve as a form of resistance, a way to assert the enduring values of community, land, and spirit? Editor: I see what you mean. It's not just a pretty picture then; it's making a statement about the values Roerich saw as important during that turbulent time. Curator: Precisely. It invites us to reflect on how cultural memory and spiritual pursuits can be powerful forms of political commentary, particularly during periods of profound societal transition and conflict. Does this change your initial reaction? Editor: Definitely. I was drawn to the visual style, but now I'm thinking about its message in a whole new way, seeing how the symbolism is related to that specific time in history. Curator: It's about looking at art as a lens through which we can explore critical social and philosophical questions. Editor: Thanks, I’ve certainly learned a lot about Roerich and interpreting visual imagery.