Language of forest 1922

Nicholas Roerich created ‘Language of Forest’ using tempera on canvas. Looking at the painting, what strikes you is the directness of the mark-making. There is no attempt at photorealism, instead, Roerich deploys visible, expressive brushstrokes. The visible materiality of the paint is an integral part of the picture's impact. Tempera dries quickly, so the painting process would have required rapid, decisive movements. The texture of the canvas remains apparent beneath the paint, adding another layer of materiality to the work. Roerich was interested in the spiritual dimensions of landscape, and his approach to painting was not dissimilar to practices we see in craft traditions; for instance, the efficient brushwork of calligraphy. Ultimately, the image asks us to think about what we consider a finished work of art. So, next time you look at a painting, don't just consider the image, but also the material, the making, and the context.