Nicholas Roerich: The Artist Who Would Be King

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the way. (So many, in fact, that I apol­ogize in advance for the inevitable but, I hope, not too numerous omissions.) My graduate-school days are far behind me, but I nonetheless owe thanks to my advisers at the University of Chicago, Richard Hellie and Sheila Fitzpatrick, who supported ear­ly stages of this research despite its sharp departure from my dissertation work. Mark Bassin has acted as a mentor and friend throughout my career. As always, I am per­petually grateful to my Chicago classmates for years of camaraderie and encouragement.

When I began this project, I fretted about trespassing on the domain of art his­torians, only to find myself welcomed to the field by a hospitable group that includes Karen Kettering, Rosalind Blakesley, Susan Reid, Jane Sharp, and Andrea Rusnock. The Society of Historians of Eastern European, Eurasian and Russian Art community, both online and in person, continues this stan­dard of good will. Beyond that, many schol­ars from various disciplines have answered queries, read draft versions of my work, or included me in conference panels and essay collections. Though this list could be much longer, I wish to thank Jim Andrews, Chris­topher Ely, Willard Sunderland, Maria

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