Please note this change in museum opening hours:
FRIDAYS 2 to 7 p.m.
Nicholas Roerich Museum
319 West 107th Street
New York NY 10025
The Museum is on 107th street, between Broadway & Riverside Drive closer to Riverside Drive.
Subway:, #1 train to 110th Street and Broadway.
Bus: M104 bus to 108th Street and Broadway; M5 bus to 108th Street and Riverside Drive
Car: The Museum does not provide for parking, which can be found on nearby streets. Parking garages can be found on 108th Street, east of Broadway.
Saturday–Sunday, 2–5 p.m.
Tuesday–Thursday noon–4 p.m.
Friday, 2–7 p.m.
Also closed New Years’ Day, Easter Sunday, July 4, Thanksgiving Day, and Christmas Day.
Admission is free, though donations are welcome.
If you will need to use the elevator, we ask that you give us a call at least a day in advance. There are two flights of stairs that lead to the second and third floor galleries, so please plan your visit accordingly.
phone: 212–864–7752 (during open hours)
Friday, November 22 at 7 p.m.
Alexei Tartakovsky, piano
The recital ends at about 8:10 p.m.
Sunday, December 1 at 5 p.m.
Sonia Bize, harp
Colors of Resonance:
Debussy, Fauré, Damase, Rameau, Tchaikovsky, Balakirev, Prokoviev
The registration will start around noon on November 25.
Friday, December 13 at 7 p.m.
Nada Radulovich, cello
Cullan Bryant, piano
Mozart, Haydn, Beethoven
The registration will start around noon on December 9.
Admission is free, but please register for the event to be admitted! Registration opens here on our website around noon on the Monday before the concert.
We ask you to register online in person: we are unable to do it for you.
If you do not present your ticket ten minutes before the concert starts, we cannot guarantee that you will have a seat.
Please note that latecomers will be seated during the intermission.
The Museum maintains a regular schedule of concerts and poetry readings.
Information about these events can be obtained here and also by calling the Museum during working hours at 212-864–7752.
Admission to the cultural events is free, though donations are welcome.
The Museum's collection comprises more than 200 paintings of the artist, exhibited on three floors of a classic townhouse in the Upper West Side of Manhattan.
On Sunday, June 9th, the Nikolai Kachanov Singers (NKS), our artists-in-residence, together with Russian Chamber Chorus performed “Color and Sound: a sublime program in a sacred space”.
In the program:
Efrem Podgaits: Morning Birds, for chorus, flute, and cello, inspired by the paintings of Nicholas Roerich (world premiere);
Nikolai Kachanov: Benevolence, a five-part cantata, set to the poems of Nicholas Roerich, and inspired by his paintings;
Morton Feldman: Rothko Chapel, a masterpiece, inspired by the paintings of Mark Rothko and the Rothko Chapel in Texas.
The performance took place at the Cathedral of St. John the Divine.
|1874||Born in St.Petersburg|
|1893–1898||Studied in the Imperial Art Academy|
|1906–1916||Director of the Drawing School of Imperial Society for Encouragement of Arts. Exhibited in major European cities|
|1917–1919||Karelia, Scandinavia, London|
|1920–1923||President Founder of the Master Institute & Roerich Museum in New York, exhibitions across the U.S.A. in more than 20 cities|
|1923–1928||Expedition to Central Asia: Sikkim, Kashmir, Ladakh, Chinese Turkestan, Altai, Mongolia, crossing Tibet from North to South|
|1929–1947||Settled in Naggar, Kullu Valley, India|
|1934–1935||Expedition in Manchuria and Inner Mongolia|
|1935||The Roerich Pact signed in the White House by twenty one countries|
|1947||Passed away in Naggar|
Below: Nicholas Roerich preparing for crossing the Gobi and Tibet from north (Ulaan-Bator) to south (Sikkim). Photo taken early April of 1927
Below: Nicholas Roerich in Darjeeling, India, soon after his expedition in Central Asia. Photo taken in the Fall of 1928
Our archive holds tens of thousands of items of correspondence pertaining to Nicholas Roerich's artistic and other activities.
A visionary and idealist, Roerich promoted peace and the protection of the world's cultural heritage, the unity of religions, and the notion that the creative people of the world bear the responsibility to save the world.
During the nineteen-twenties, he composed a treaty for protection of the historic monuments, museums, scientific, artistic, educational and cultural institutions in time of peace as well as in war.
JAMES WARD, UNITED STATES:
What a treasure the Roerich Museum is! A wonderfully immersive experience to be surrounded by his art and artifacts in such relaxed, inviting and densely adorned surroundings.