Village by the sea. Set design for the comedy by J.-B. Molière’s Don Juan Alexander Golovin (1863-1930)

The composition presents a stylized village nestled against a dramatic coastal landscape, conceived as a stage design for Molières Don Juan. The scene is dominated by an unusual architectural structure: a large, white building with a pronounced archway that frames the view of the sea and distant mountains. This building’s form defies conventional logic; it appears almost organic, its curves echoing the natural contours of the surrounding cliffs.

The artist has employed a palette primarily consisting of whites, blues, greens, and earth tones, creating an atmosphere both serene and slightly unsettling. The white buildings are rendered with textured brushstrokes, suggesting age and weathering while simultaneously imparting a sense of theatrical artifice. The vegetation – dense ivy clinging to the rocky cliffs on the left – provides a stark contrast to the geometric precision of the architecture.

Here we see a deliberate blurring of boundaries between natural and constructed environments. The archway acts as a visual portal, inviting the viewer into a world that is both real and imagined. It simultaneously isolates and connects the village to its surroundings. This duality likely reflects themes present in Molière’s play – the tension between societal expectations and individual desires, the interplay of appearance and reality.

The placement of small windows and decorative elements on the buildings facade suggests a community inhabiting this space, yet their presence is understated, contributing to an overall sense of detachment. The distant mountains, rendered in muted blues, create depth but also reinforce the feeling of isolation. The dark band at the bottom of the composition serves as a stage floor, further emphasizing the work’s function as a theatrical design.

Subtly, the painting conveys a sense of confinement and potential entrapment. The village is nestled within a natural amphitheater, suggesting that its inhabitants are both protected and observed. This could be interpreted as a visual metaphor for Don Juans own predicament – a man trapped by his reputation and desires, constantly under scrutiny. The stylized nature of the scene implies an artificiality inherent in human relationships and societal structures, aligning with Molière’s satirical critique of 17th-century morality.