Yuri Andreevich Cherepanov’s "Israeli Plan" (1979) is a critical commentary on Israeli settlement policy through the lens of Soviet political cartooning. Created for the satirical magazine "Krokodil", this ink and watercolour work emerged during a period of heightened Cold War tensions and Soviet criticism of Israeli military expansion. The timing of this piece is particularly significant, as it coincides with the aftermath of the Camp David Accords of 1978, reflecting the Soviet Union's official opposition to Israeli settlement activities. The work exemplifies the role of political cartoons in Soviet media as instruments of international commentary and ideological messaging.

The composition employs a striking diagonal arrangement of militarised watchtowers that march across the picture plane against a stark yellow background. A Israeli official in black holds a scroll labelled "Plan of Construction of Israeli Military Settlements", whilst below, Palestinian civilian figures flee in distress. The barbed wire connecting the towers creates a visual barrier, symbolising territorial division and military occupation. This arrangement cleverly transforms architectural elements into aggressive entities, with the towers' legs depicted as marching boots.

The artist's technique demonstrates masterful use of contrast through a restricted colour palette of black, grey, and yellow. The stark yellow background creates an atmosphere of warning and tension, while the monochromatic figures and structures employ bold, graphic lines characteristic of Soviet political cartoons. Cherepanov's architectural background is evident in the simplification of the watchtowers, whilst his experience as a wartime draughtsman influences the dynamic composition. The simplified, bold style adheres to the visual language of Soviet political satire whilst ensuring the message remains immediately comprehensible.

Yuri Andreevich Cherepanov (1922-2016) brought unique qualifications to this work, combining his architectural expertise from the Moscow Metro projects with his experience as a technical clerk-draughtsman during the Great Patriotic War. As a distinguished member of the Union of Artists of the USSR from 1964, his work for "Krokodil" magazine represented part of a broader career that included significant cartoon collections and international exhibitions. This particular work exemplifies his mature style, created during a period when his political cartoons were regularly featured in major Soviet publications including "Pravda" and "Ogonyok". His distinctive approach to political satire, informed by his architectural background, contributed to a body of work that would be exhibited across Eastern Europe and Asia throughout his career.