design sketch for staging Diary of Satan (by L. Andreev). 1922 Kuzma Sergeevich Petrov-Vodkin (1878-1939)

The drawing presents a study or library space, rendered in a muted palette dominated by ochre, red-brown, and pale yellow. The composition is defined by strong geometric forms – arched walls, rectangular bookshelves, and a large desk – which contribute to an overall sense of enclosure and formality. A significant portion of the foreground is occupied by a circular platform or dais upon which a figure appears to be reclining amidst scattered papers and books.
The room’s architecture suggests a deliberate attempt at creating a space that feels both opulent and oppressive. The bookshelves, densely packed with volumes, imply intellectual pursuits but also a potential for overwhelming knowledge. The heavy red curtain partially obscuring the window reinforces this sense of confinement; it limits natural light and creates an atmosphere of secrecy or isolation.
The central figure on the dais is crucial to understanding the drawing’s subtext. Their posture – relaxed yet vulnerable – suggests a state of contemplation, perhaps even decadence. The surrounding papers could represent discarded ideas, failed endeavors, or simply the detritus of a life consumed by thought. The circular platform elevates this individual, visually separating them from the rest of the room and hinting at a position of power or influence, albeit one that appears precarious given their exposed posture.
The desk in the upper right corner is meticulously rendered, with its surface covered in papers and objects – a still life arrangement suggesting both scholarly activity and an underlying sense of disarray. The window behind it offers a glimpse of the outside world, but the view remains indistinct, further emphasizing the figure’s detachment from reality.
The color scheme contributes significantly to the drawings mood. The predominance of warm, earthy tones creates a feeling of stagnation and decay, while the occasional flashes of red – in the curtain, the furniture, and the dais – introduce an element of danger or passion. Overall, the sketch conveys a sense of intellectual exhaustion, moral ambiguity, and a profound alienation from the world outside. It suggests a space where knowledge is both sought after and feared, and where power comes at a cost.