Roerich N.K. – Mountain lake
1936 or 1937. cardboard tempera. 29.5 x 44.7 cm.
Location: Collection Joe Dzhagoda. USA.Dallas
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Here we see a lake occupying the central portion of the canvas, its surface appearing relatively still and reflecting the sky above in muted tones. The mountains rise sharply on either side, their peaks delineated with crisp, angular lines. Their coloration shifts subtly from deep blue at the base to lighter shades higher up, creating an illusion of atmospheric perspective, though it is achieved through color rather than tonal variation.
The foreground features a rocky outcrop rendered in pink and brown hues, which provides a visual anchor for the composition. This element introduces a warmer tone that contrasts with the predominantly cool palette of the rest of the scene. The sky occupies the upper portion of the painting, appearing as a pale blue expanse devoid of clouds or other atmospheric phenomena.
The overall effect is one of serenity and stillness, but also of an almost unsettling detachment from reality. The simplification of forms and the limited color range contribute to a sense of abstraction, suggesting that the artist is less interested in depicting a specific place than in exploring formal qualities such as shape, color, and spatial relationships.
Subtly, theres a feeling of isolation conveyed by the lack of human presence or any indication of habitation. The landscape appears pristine and untouched, evoking a sense of vastness and timelessness. It’s possible to interpret this work as an exploration of the sublime – the awe-inspiring power of nature – but filtered through a lens of abstraction that distances the viewer from direct emotional engagement. The painting seems to suggest a search for order and harmony within the natural world, achieved through a deliberate reduction of complexity.