Elijah the Prophet 1931

Editor: Here we have Nicholas Roerich’s "Elijah the Prophet," a tempera painting from 1931. It's intensely orange and seems to depict a fiery sky and landscape. At the top, there's this hazy depiction of a figure in a chariot. What can you tell me about it? Curator: This tempera piece is fascinating, especially considering Roerich’s interest in blurring the lines between high art and spiritual iconography. I immediately look to the material choices—the tempera itself. Tempera lends a matte, almost chalky texture, quite distinct from oil paints which give depth and gloss. Roerich's embrace of tempera points us toward an interest in simpler, perhaps more 'authentic' modes of production, echoing folk art traditions. Do you see how the flat, almost decorative application challenges the established Western ideals of illusionism in painting? Editor: I see what you mean. The application is pretty simple. What about the symbolism in the piece? Curator: Right, symbolism! While the imagery depicts Elijah's ascent, think about what "tempera" on "board" means socially at this time. It rejects the industrialization of art. This becomes a powerful statement of cultural and spiritual preservation against the tide of modernity. It hints at the labor involved, moving away from mass-produced canvases toward handmade and personal objects. What do you make of Roerich’s colour choice given our perspective of his process? Editor: That’s interesting. The dominant orange makes sense now, as the tempera has these earth pigment connotations… highlighting those direct connections to the raw materials. It creates the expressionistic fervor, I guess. Curator: Precisely! And by extension the chariot… it's a hand-made thing; Roerich didn't mass produce! It reclaims making as a spiritually imbued practice. Something to consider when we are reflecting on this particular artwork in person, right? Editor: I never thought about tempera in such a context! I will keep that in mind when observing the other artworks. Thanks!