City building Roerich N.K. (Part 1)

The composition presents a scene of urban construction, viewed from an elevated perspective that distorts spatial relationships and emphasizes scale. Several structures dominate the view; they appear unfinished, characterized by exposed brickwork, scaffolding, and visible structural elements. The buildings are rendered in muted earth tones – ochre, brown, grey – with touches of red suggesting underlying materials or perhaps a deliberate aesthetic choice.
The artist depicted numerous figures engaged in labor. They populate the construction sites, some carrying materials, others operating machinery, and still more seemingly observing the progress. Their postures suggest strenuous activity, yet they are rendered with a degree of anonymity; individual identities seem subsumed by the collective effort. The arrangement of these workers creates a sense of rhythmic repetition, reinforcing the idea of industrial labor as a continuous process.
A notable element is the presence of animals – specifically horses and cattle – within the construction zone. Their inclusion introduces an unexpected juxtaposition between the modern processes of urban development and more traditional forms of animal power. This might be interpreted as a commentary on the transition from agrarian to industrialized society, or perhaps a symbolic representation of the enduring connection between humanity and nature even within rapidly changing environments.
The perspective employed contributes significantly to the painting’s overall effect. The tilted viewpoint creates a sense of instability and dynamism, suggesting that the city itself is in a state of flux. It also flattens the depth of field, compressing the space and intensifying the feeling of density.
Subtly, theres an underlying melancholy conveyed through the color palette and the depiction of labor. The muted tones evoke a sense of weariness or perhaps even resignation, while the anonymous figures suggest a loss of individuality within the larger system of urban development. The painting doesn’t celebrate progress; instead, it offers a contemplative observation of its human cost and the complex interplay between tradition and modernity.