design sketch prologue to the staging of Satans Diary (by Leonid Andreev). 1922 Kuzma Sergeevich Petrov-Vodkin (1878-1939)

The sketch presents a fragmented landscape dominated by geometric forms and a solitary figure positioned centrally within the composition. The artist has employed a palette primarily consisting of muted earth tones – ochres, browns, and grays – interspersed with washes of pink and blue that lend an unsettling, dreamlike quality to the scene.
Here we see a towering backdrop constructed from angular planes, suggesting a monumental, almost oppressive environment. These shapes do not coalesce into recognizable natural features; instead, they create a sense of disorientation and artificiality. The fragmentation implies a broken or shattered reality, perhaps reflecting a psychological state rather than a literal location. A horizontal line bisects the composition, further emphasizing the division between foreground and background, while also contributing to the overall feeling of instability.
The figure, clad in dark robes, stands atop a rocky outcrop that mirrors the jaggedness of the surrounding landscape. The arm is raised dramatically, as if in supplication or pronouncement. This gesture, combined with the figure’s isolation, suggests a role of authority – a prophet, a leader, or perhaps even a condemned individual addressing an unseen audience.
The subtexts within this design sketch appear to revolve around themes of alienation, power, and spiritual struggle. The fractured landscape could symbolize a world in turmoil, while the solitary figure embodies a sense of isolation and responsibility amidst chaos. The color choices – the somber browns and grays contrasted with fleeting moments of pink and blue – evoke a mood of melancholy and uncertainty. It is likely that this sketch was intended to convey an atmosphere of psychological tension and moral ambiguity, setting the stage for a narrative exploring complex themes of good versus evil.