Samuel Isaakovich Zisman's "We Reject Baptism" (1970s), a preparatory oil sketch on card, represents a powerful example of Soviet anti-religious propaganda. Created for Agitplakat Dona during a period of state-enforced atheism, this rare surviving preparatory sketch offers unique insight into the Soviet Union's systematic campaign against religious practices. The work emerged during a time when the League of Militant Atheists actively persecuted religious believers, and the state maintained strict prohibitions against public displays of religion.

The composition centres on a stark contrast between a pale pink nude infant and two dark, shadowy priestly figures flanking it. A chain with a cross connects the clergy to the child, creating a powerful visual metaphor for religious bondage. Below the main scene, a dark semi-circular Baptismal font bearing another cross grounds the composition while reinforcing the religious symbolism being rejected. The simplified, almost geometric arrangement of these elements demonstrates the direct visual language characteristic of Soviet propaganda art.

The artist employs a deliberately restricted colour palette dominated by greys, black, and a striking use of pink for the infant figure. This limited chromatic range creates a sombre atmosphere while ensuring maximum visual impact. The technical approach shows a masterful balance between painterly execution and graphic clarity, reflecting Zisman's training at the M.B. Grekov Rostov Art School and his experience in poster design. The stark contrasts and simplified forms align with Soviet propaganda art traditions while serving the work's ideological message.

Samuel Isaakovich Zisman (1920-1986) established himself as a significant figure in Soviet graphic design through his work at Agitplakat Don and collaborations with IZOGIZ. After graduating from the M.B. Grekov Rostov Art School (1936-1940), he began exhibiting in 1951, participating in zonal, republican, and all-Union art exhibitions. His portfolio encompassed various themes including social criticism, Cold War politics, and anti-religious propaganda. Notable works such as "Pearl of the Don" (1964) and "Higher than all, farther than all, ahead of all!" (1963) demonstrate his versatility. His works are now preserved in numerous Russian institutions, including the Russian State Library and the State Central Museum of Contemporary History of Russia.