Gallery. Scenery sketch for P.O. Beaumarchais’s comedy Crazy Day or the Marriage of Figaro Alexander Golovin (1863-1930)
Alexander Golovin – Gallery. Scenery sketch for P.O. Beaumarchais’s comedy Crazy Day or the Marriage of Figaro
1927.
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Painter: Alexander Golovin
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The sketch presents a stage setting, likely intended for theatrical production. The composition is dominated by a large, stylized window or doorway that occupies nearly the entire central space. This architectural element isnt rendered with realistic detail; instead, it appears as an intricate geometric pattern constructed from intersecting lines and circular motifs. Its design suggests a blend of Art Nouveau influences with a touch of Byzantine ornamentation.
Flanking this central feature are two small, purple stools positioned on a slightly raised platform. These objects appear deliberately placed to draw the eye towards the window/doorway, acting as visual anchors within the scene. Symmetrical wall sconces, also stylized and geometric in form, are mounted on either side of the central structure, contributing to the overall balance of the design.
The upper portion of the sketch is characterized by a decorative frieze featuring vertical stripes alternating between orange and red hues, punctuated with circular medallions. This detail introduces a sense of dynamism and visual complexity to the otherwise relatively restrained palette. The background wall itself is rendered in muted beige tones, which allows the more vibrant elements to stand out.
The overall impression conveyed is one of theatricality and deliberate artifice. The setting doesnt attempt to replicate reality; instead, it creates a symbolic space intended to evoke a particular mood or atmosphere. Given its association with Beaumarchais’s Crazy Day, the design might be interpreted as representing a world governed by elaborate social rituals and hidden agendas – a visual metaphor for the complexities of courtship, class distinctions, and political maneuvering that underpin the plays narrative. The stylized nature of the setting suggests a detachment from everyday life, hinting at the comedic exaggeration inherent in the theatrical genre.