Tibet 1933

Nicholas Roerich made this painting titled Tibet using a simplified style to portray a mountain. There is an almost brutal honesty to Roerich's work. Look at the geometric shapes forming the peaks and slopes; they’re so matter-of-fact. The colour palette is restricted to shades of blue, white, brown and purple, yet, the painting feels anything but limited. The brushstrokes are so direct, so unpretentious, it's like Roerich is saying, ‘Here it is, the mountain, take it or leave it.' I think it’s the physical application of the paint that I find the most compelling. It’s thin in some areas, allowing the texture of the canvas to peek through, and thicker in others, creating a tactile surface that invites you to reach out and touch it. See the way the light catches those raised edges, that’s where the magic happens. Each brushstroke is a deliberate act, a small, yet significant decision in the process of creation. Roerich reminds me of Marsden Hartley, another artist who wasn't afraid to simplify and flatten forms. Both artists seem to be engaged in a constant dialogue with the world around them.