Roerich Family

Nikolai Konstantinovich Rerikh (), better known as Nicholas Roerich (; October 9, 1874 – December 13, 1947), was a Russian painter, writer, archaeologist, theosophist, philosopher, and public figure. In his youth he was influenced by Russian Symbolism, a movement in Russian society centered on the spiritual. He was interested in hypnosis and other spiritual practices and his paintings are said to have hypnotic expression.

Born in Saint Petersburg, to a well-to-do Baltic German father and to a Russian mother, Roerich lived in various places in the world until his death in Naggar, India. Trained as an artist and a lawyer, his main interests were literature, philosophy, archaeology, and especially art. Roerich was a dedicated activist for the cause of preserving art and architecture during times of war. He was nominated several times to the longlist for the Nobel Peace Prize. The so-called Roerich Pact (for the protection of cultural objects) was signed into law by the United States and most other nations of the Pan-American Union in April 1935.

Biography

Early life

Raised in late-19th-century St. Petersburg, Roerich enrolled simultaneously at St. Petersburg University and the Imperial Academy of Arts in 1893. He received the title of "artist" in 1897 and a degree in law the next year. He stayed in Florence in 1906, and found early employment with the Imperial Society for the Encouragement of the Arts, whose school he directed from this year to 1917. Despite early tensions with the group, he became a member of Sergei Diaghilev's "World of Art" society and was its president from 1910 to 1916.

Artistically, Roerich became known as his generation's most talented painter of Russia's ancient past, a topic that was compatible with his lifelong interest in archeology. He also succeeded as a stage designer by achieving his greatest fame as one of the designers for Diaghilev's Ballets Russes. His best-known designs were for Alexander Borodin's ''Prince Igor'' (1909 and later productions), and costumes and set for ''The Rite of Spring'' (1913),Julie Besonen
"Visions of a Forgotten Utopian"
''New York Times'', April 6, 2014. composed by Igor Stravinsky.

Along with Mikhail Vrubel and Mikhail Nesterov, Roerich is considered a major representative of Russian Symbolism in art. From an early period of his life, he was influenced by apocrypha and medieval sectarian writings such as the mysterious Dove Book.

Another of Roerich's artistic subjects was architecture. His acclaimed publication "Architectural Studies" (1904–1905), consisting of dozens of paintings he made of fortresses, monasteries, churches, and other monuments during two long trips through Russia, inspired his decades-long career as an activist on behalf of artistic and architectural preservation. He also designed religious art for places of worship throughout Russia and Ukraine, most notably the ''Queen of Heaven'' fresco for the Church of the Holy Spirit, which the patroness Maria Tenisheva built near her Talashkino estate, and the stained glass windows for the Datsan Gunzechoinei in 1913–1915. His designs for the Talashkino church were so radical that the Orthodox church refused to consecrate the building.

During the first decade of the 1900s and in the early 1910s, Roerich, largely by the influence of his wife, Helena, developed an interest in eastern religions, as well as alternative belief systems such as Theosophy. Both Roerichs became avid readers of the Vedantist essays of Ramakrishna and Vivekananda, the poetry of Rabindranath Tagore, and the ''Bhagavad Gita''.

The Roerichs' commitment to occult mysticism increased steadily. It was especially intense during World War I and the 1917 Russian Revolution to which the couple, like other many Russian intellectuals, accorded apocalyptic significance. The influence of Theosophy, Vedanta, Buddhism, and other mystical topics can be detected not only in many of Roerich's paintings but also in the many short stories and poems that Roerich wrote before and after the 1917 revolutions, including the ''Flowers of Morya'' cycle, which was begun in 1907 and completed in 1921.

Revolution and emigration to United States

After the February Revolution of 1917 and the end of the czarist regime, Roerich, a political moderate who valued Russia's cultural heritage more than ideology and party politics, had an active part in artistic politics. With Maxim Gorky and Aleksandr Benois, he participated with the so-called "Gorky Commission" and its successor organization, the Arts Union (SDI). Both attempted to gain the attention of the Provisional Government and Petrograd Soviet on the need to form a coherent cultural policy and, most urgently, to protect art and architecture from destruction and vandalism.

Meanwhile, illness forced Roerich to leave the capital and reside in Karelia, the district bordering Finland. He had already quit the presidency of the World of Art society, and he now quit the directorship of the School of the Imperial Society for the Encouragement of the Arts. After the October Revolution and the acquisition of power of Lenin's Bolshevik Party, Roerich became increasingly discouraged about Russia's political future. During early 1918, he, Helena, and their two sons George and Svetoslav immigrated to Finland.

Two unresolved historical debates are associated with Roerich's departure. First, it is often claimed that Roerich was a major candidate to direct a people's commissariat of culture (the Soviet equivalent of a ministry of culture), which the Bolsheviks considered establishing in 1917–1918, but he refused to accept the job. In fact, Benois was the most likely choice to direct any such commissariat. It seems that Roerich was a preferred choice to manage its department of artistic education; the topic is rendered moot by the fact that the Soviets elected not to establish such a commissariat.

Second, when Roerich later wished to reconcile with the Soviet Union, he maintained that he had not left Soviet Russia deliberately, but that he and his family, living in Karelia, had been isolated from their homeland when the Finnish Civil War began. However, Roerich had an amply-documented extreme hostility to the Bolshevik regime, prompted not so much by a dislike of communism as by his revulsion at Lenin's ruthlessness and his fear that Bolshevism would result in the destruction of Russia's artistic and architectural heritage. He illustrated Leonid Andreyev's anticommunist polemic "S.O.S." and had a widely-published pamphlet, "Violators of Art" (1918–1919). Roerich believed that "the triumph of Russian culture would come about through a new appreciation of ancient myth and legend."

After some months in Finland and Scandinavia, the Roerichs relocated to London, arriving in mid-1919. Engrossed with Theosophical mysticism, they now had millenarian expectations that a new age was imminent, and they wished to travel to India as soon as possible. They joined the English-Welsh chapter of the Theosophical Society. It was in London, in March 1920, that the Roerichs founded their own school of mysticism, ''Agni Yoga'', which they described as "the system of living ethics." While in London, Roerich also contributed scenic designs for LAHDA, a cooperative group of Russian theatrical artists led by Theodore Komisarjevsky.

To earn passage to India, Roerich worked as a stage designer for Thomas Beecham's Covent Garden Theatre, but the enterprise ended unsuccessfully in 1920, and the artist never received full payment for his work. Among the notable people Roerich befriended while in England were the famed British Buddhist Christmas Humphreys, the philosopher-author H. G. Wells, and the poet and Nobel laureate Rabindranath Tagore (whose grand-niece Devika Rani would later marry Roerich's son Svetoslav).

A successful exhibition in London resulted in an invitation from a director at the Art Institute of Chicago, offering to arrange for Roerich's art to tour the United States. In the autumn of 1920, the Roerichs traveled to America by sea.

The Roerichs remained in the United States from October 1920 until May 1923. A large exhibition of Roerich's art, organized partly by the U.S. impresario Christian Brinton and partly by the Chicago Art Institute, began in New York in December 1920 and toured the country, to San Francisco and back, in 1921 and early 1922. Roerich befriended acclaimed soprano Mary Garden of the Chicago Opera and received a commission to design a 1922 production of Rimsky-Korsakov's ''The Snow Maiden'' for her. During the exhibition, the Roerichs spent significant amounts of time in Chicago, New Mexico, and California.

Politically, Roerich was at first anti-Bolshevik. He gave lectures and wrote articles to White Russian populations in which he criticized the Soviet Union. However, his aversion to communism, "the impertinent monster that lies to humanity," changed in America. Roerich claimed that his spiritual masters, the "Mahatmas" in the Himalayas, were communicating telepathically with him through his wife, Helena, who was a mystic and a clairvoyant.

The beings from an esoteric Buddhist community in India were said to have told Roerich that Russia was destined for a mission on Earth. That led him to formulate his "Great Plan," which envisaged the unification of millions of Asian peoples through a religious movement using the Future Buddha, or Maitreya, into a "Second Union of the East." There, the King of Shambhala would, following the Maitreya prophecies, make his appearance to fight a great battle against all evil forces on Earth. Roerich understood that as "perfection towards Common Good." The new polity was to include southwestern Altai, Tuva, Buryatia, Outer