Sketch makeup to a dramatization of Satan Satans Diary (by L. Andreev). 1922 Kuzma Sergeevich Petrov-Vodkin (1878-1939)

The drawing presents a close-up portrait of a male figure, rendered in a restrained palette dominated by earthy tones – ochre, brown, and muted red – with touches of grey and white. The subjects head is turned slightly towards the viewer, his gaze direct and unwavering. He appears to be bald or closely shaved, emphasizing the angularity of his face.
The artist has employed a technique that suggests a study for theatrical makeup. The skin tone is not naturalistic; instead, it’s heavily stylized with broad strokes of color applied in a manner reminiscent of stage paint. This creates an unsettling effect, distancing the figure from immediate recognition and hinting at a constructed persona. The application of color highlights bone structure – the prominent cheekbones, sharp jawline, and brow ridge – contributing to a sense of severity and perhaps even menace.
There is a deliberate lack of detail in the rendering of facial features; the eyes are particularly simplified, conveying an impression of coldness or detachment rather than emotional depth. The mouth is thin and tightly closed, further reinforcing this feeling of impassivity. The neck appears elongated and slender, adding to the figure’s somewhat unnatural appearance.
The background is minimal, consisting primarily of washes of color that blend with the tones used for the face, creating a sense of flatness and confinement. This lack of spatial context draws attention solely to the subjects countenance.
Subtly, the use of red in the coloration suggests an underlying intensity or even anger, though it is muted by the overall somberness of the palette. The sketch seems less concerned with depicting individual characteristics than with exploring a symbolic representation – a mask, perhaps – of power and authority. The deliberate artificiality of the rendering implies that this is not a portrait of a specific person but rather an exploration of a particular archetype or dramatic character. The signature in the lower right corner, along with the inscription at the top, suggests its origin as a preparatory study for a theatrical production, likely involving a figure of considerable symbolic weight.