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Ссылка на изображение: http://gallery.facets.ru/pic.php?id=1507&size=3
26 APRIL 2006 - 28 APRIL 2006 | 10:00 AM EDT
PROPERTY FROM A PRIVATE COLLECTION, FLORIDA
Estimate 80,000 — 120,000 USD
LOT SOLD. 192,000 USD
Nikolai Konstantinovich Roerich
signed with Monogram and dated 1918 (lower right)
oil and tempera on panel
18 3/4 by 32 1/8 in.
47.6 by 82 cm
Property from the Louis Horsch Collection
Thence by descent
Stockholm, Exhibition, 1918
New York, The Nicolas Roerich Exhibition, 1920-1922, no. 36
International Art Center, eds. Roerich, New York: Corona Mundi, Inc., 1924, illustrated (titled The Miser)
C. Briton, The Nicolas Roerich Exhibition, 1920-1922, New York: Redfield-Kendrich-Odell Co., c 1920, no. 36, as The Miser, painted in Sortavala, 1918
List of Paintings 1917-1924, (MSS in Roerich's hand), no. 7 as Stingy Lancer (study for set design), 1918
F. Grant, Paintings by Nicolas Roerich, a Monograph, New York: Bretano's, 1926, pp. 185-200, as The Miser, sketch of setting, 1918
The Nicholas Roerich Museum, Roerich Museum Catalogue, 8th Edition, New York, 1930, as Miser, 1919, Finland
The Miser, 1918, is an important early panel by Roerich. Influenced greatly by Eastern religion and spirituality, Nicholas Roerich devoted much of his output to humanity’s eternal search for spiritual truth and beauty. In works such as Confucius (see lot 124) and Lao Tze (see Lot 123) Roerich celebrates this link between humanity and a higher spiritual calling. In sharp contrast, Roerich’s The Miser, reminiscent of the artist’s more theatrically themed works, explores a darker side of humanity. The painting itself is clearly influenced by Roerich’s period as a theater design artist in the early 1900s. With its illustrative style and cinematic frame, the work is a parabolic depiction of humanity’s obsession with tangible wealth and materialism. Roerich uses the anonymous figure, obscured by shadows and turned away from the viewer, to represent the universality of greed. Despite the cooler colors which frame the painting, the centered wealth, with its glowing golds and oranges, exudes a feeling of warmth. Roerich paints a story in this piece, combining his admiration of theater design with a commitment to exploring the complex psychology and spirtuality of mankind.
We would like to thank Daniel Entin, Director of the Nicholas Roerich Museum, New York and his colleague Gvido Trepsha, for providing the additional catalogue information.