Smolensk. Tower. 1903

Nicholas Roerich conjured "Smolensk. Tower." with paint sometime in the early 20th century, and it’s this fascinating mix of greens, browns and oranges that first grabs you, doesn’t it? It’s all about that process, the physicality of moving paint around. Look how Roerich layers the colours, especially on the tower. It’s thick, almost chunky in places, giving the stone a real weight, a tangible presence. You can almost feel the rough texture of the ancient bricks under your fingers. The green of the hill, though, is smoother, more fluid. See that winding path leading up to the tower? It’s like a brushstroke that pulls you right into the heart of the painting. Roerich reminds me a bit of Marsden Hartley, both of them searching for something spiritual in the landscape, but Roerich’s got this extra layer of earthy, almost medieval grit. Art isn't about answers, it's about exploring, embracing the questions, and diving headfirst into the beautiful mess of it all.