Updated oktoober 2026 · ranked by our popularity score (searches, visits and orders for each work) · 60 works by Dmitri Grigorievitš Levitski in our catalogue
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Portrait of Catherine II of Russia in red dress. (1782) is recorded as the most famous painting of Dmitri Grigorievitš Levitski; it is held by the Rahvusmuuseum Varssavis, Varssavi. Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice (1780) and Portrait of Countess Ursula Mniszek (1782) occupy the second and third entries. Of the 60 works by Dmitri Grigorievitš Levitski recorded in the catalogue, the 60 best known are listed below, each entry with its date, the holding museum and a note on the work.
The Portrait of Catherine II of Russia in red dress. is an oil painting executed by the artist Dmitry Levitzky. Created in 1782, this work depicts the subject, Catherine II, who is also known as Catherine the Great. She held the position of Empress of Russia from 9 July 1762 until 1796.
The work is the Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice by the artist Dmitry Grigoryevich Levitsky. Created about 1780, this oil portrait presents the subject, Catherine II, within a specific architectural and symbolic framework. The composition places the Empress inside a temple dedicated to the goddess of Justice, a setting that defines the allegorical nature of the image.
An elegant oval-format bust-length portrait, this work captures Countess Ursula Mniszek in a moment of poised serenity. The composition focuses on the subject's face and upper torso, set against a dark, indeterminate background that creates a strong chiaroscuro effect. Light enters from the upper left, illuminating her features and the shimmering textures of her attire. Her powdered hair is styled in voluminous curls, framing a face rendered with smooth skin…
The Subject and Composition Portrait of A.I. Novikova (? ) presents a middle-aged man in a three-quarter view, positioned slightly off-center against a dark, atmospheric background. The figure is depicted from the waist up, wearing a deep forest green coat accented by a vermilion red collar and a white cravat. His hair is light-colored and appears powdered, a common stylistic choice for the period. The subject's expression remains calm and…
Portrait of Maria Dyakova1778 · Tretyakovi kunstgalerii
12
Portrait of E. N. Khruschova and Princess E. N. KhovanskayaVenemaa Riiklik Muuseum
13
Portrait of Mikhail Krechetnikov1770 · Hermitage muuseum
14
Portrait of the Princesses Davidova and Rzevskaja1771 · Venemaa Riiklik Muuseum
15
Portrait of Catherine II1782
16
Irina Vasilyeva (count)Fine Arts Museum Kharkiv
17
Portrait of Gubareva
18
Portrait of Y. I. BilibinHermitage muuseum
19
Portrait of A.-D.-L. Shmidt
20
Portrait of Prokofiy Demidov
21
Portrait of E. I. Palmenbach
22
Portrait of A. P. Melgunov
23
Portrait of E. I. Molchanova
24
Portrait of A. P. Levshina
25
Portrait of M. A. Lvova
26
Portrait of Ekaterina Nelidova
27
Portrait of Countess N. F. Vorontsova
28
Portrait of I. V. Lopukhin
29
Portrait of Princess P. N. Repnina
30
Portrait of Count I. G. Tchernyshov
31
Portrait of I. K. Bilibin the BigHermitage muuseum
32
Portrait of M. I. Mussar
33
Portrait of F. S. Rzhevskaya and Princess N. M. Davydova
34
Portrait of N. Y. Levitzkaya, Artist's Wife
35
Portrait of I. I. Dmitriyev
36
Portrait of P. V. Bakunin
37
Portrait of G. I. Alymova
38
Portrait of Countess Ekaterina Vorontsova as a Child
39
Portrait of Countess A. S. Protasova
40
Portrait of I. A. Igelstrom
41
Portrait of V. I. Mitrofanov and M. A. Mitrofanova
42
Portrait of I. I. Bilibin
43
Portrait of an Unknown Man
44
Portrait of Count A. A. Bezborodko
45
Portrait of E. A. Bakunina
46
Portrait of Grand Duchess Ekaterina Pavlovna as a Child
47
Portrait of Grand Duchess Alexandra Pavlovna as a Child
48
Portrait of A. D. Levitzkaya, Artist's Daughter
49
Portrait of Nikolay Lvov, Architect, Painter and Poet
50
Portrait of the Aide-de-camp A. D. Lanskoy
51
Portrait of I. I. Shuvalov
52
Portrait of F. P. Makerovsky in a Masquerade Costume
53
Portrait of Grand Duchess Maria Pavlovna as a Child
54
Portrait of Grand Duchess Elena Pavlovna as a Child
55
Portrait of an Unknown Woman with a Rose1788 · Tretyakovi kunstgalerii
56
Portrait of Alexander KokorinoVenemaa Riiklik Muuseum
57
Portrait of E. A. VorontsovaVenemaa Riiklik Muuseum
58
Portrait of Anna Davia (D'Avia) BernucciTretyakovi kunstgalerii
59
Portrait of Catherine IVenemaa Riiklik Muuseum
60
Portrait of Prokofiy Demidov1773 · Tretyakovi kunstgalerii
The four subjects most frequently represented among these works, each with its best-known example.
The 7 museums that hold the most of the paintings on this page.
| Museum | City | Works by Dmitri Grigorievitš Levitski | Paintings from this list |
|---|---|---|---|
 Tretyakovi kunstgalerii |
Moskva | 6 | Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice, Portrait of Countess Ursula Mniszek, Portrait of Maria Dyakova |
 Hermitage muuseum |
Stiiitlinburg | 5 | Portrait of A.I. Novikova (? ), Portrait of Nikolai Novikov, Portrait of Mikhail Krechetnikov |
 Venemaa Riiklik Muuseum |
Peterburi | 5 | Portrait of E. N. Khruschova and Princess E. N. Khovanskaya, Portrait of the Princesses Davidova and Rzevskaja, Portrait of Alexander Kokorino |
 Rahvusmuuseum Varssavis |
Varssavi | 2 | Portrait of Catherine II of Russia in red dress., Catherine the Great |
 Armenia Riiklik Kunstimuuseum |
Jerevan | 1 | Portrait of B.V. Umsky |
 Hillwood Estate, Музей та Сади |
Washington, D.C. | 1 | Portrait of Yekaterina Dashkova |
 Fine Arts Museum Kharkiv |
Kharkiv | 1 | Irina Vasilyeva (count) |
Select a decade to display its principal painting.
The Portrait of Catherine II of Russia in red dress. is an oil painting executed by the artist Dmitry Levitzky. Created in 1782, this work depicts the subject, Catherine II, who is also known as Catherine the Great. She held the position of Empress of Russia from 9 July 1762 until 1796.
The Subject and Composition Portrait of A.I. Novikova (? ) presents a middle-aged man in a three-quarter view, positioned slightly off-center against a dark, atmospheric background. The figure is depicted from the waist up, wearing a deep forest green coat accented by a vermilion red collar and a white cravat. His hair is light-colored and appears powdered, a common stylistic choice for the period. The subject's expression remains calm and…
Portrait of Catherine II of Russia in red dress. (1782), Rahvusmuuseum Varssavis, Varssavi. The following entries are Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice (1780) and Portrait of Countess Ursula Mniszek (1782).
47 years: Dmitri Grigorievitš Levitski was born in 1735 and Portrait of Catherine II of Russia in red dress. is dated 1782.
Portrait of Catherine II of Russia in red dress., Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice, Portrait of Countess Ursula Mniszek, Portrait of A.I. Novikova (? ), Portrait of Maria Ivanovna Narychkine (1731-1807), formerly known as Portrait of Princess Maria Pavlovna Narychkine, Portrait of B.V. Umsky, La Maréchale d'Arseniev, Catherine the Great, Portrait of Yekaterina Dashkova and Portrait of Nikolai Novikov. The list above records the date and holding museum of each.
The catalogue records 60 works by Dmitri Grigorievitš Levitski, dated between 1770 and 1794.
Principally in Tretyakovi kunstgalerii (Moskva), Hermitage muuseum (Stiiitlinburg) and Venemaa Riiklik Muuseum (Peterburi). The museum table above gives the full distribution.
In 1780s: 8 of the 60 works listed on this page are dated to that period, including Portrait of Catherine II of Russia in red dress..
The earliest dated work listed here is Portrait of B.V. Umsky (1770); the latest is Portrait of A.I. Novikova (? ) (1794).
Portraits (33), 18th century (6) and Woman (5), out of the 60 works listed on this page.
Oil On Canvas, in 5 of the 60 works listed on this page.
Rococo, as documented by the works on this page.
Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice, Portrait of Countess Ursula Mniszek and Portrait of Maria Dyakova are among the 6 works on this page in the collection of the Tretyakovi kunstgalerii, Moskva.
Yes. Each work listed on this page can be ordered from its own entry as a hand-painted oil reproduction or a fine art print, in a size of your choice.
Dmitry Grigoryevich Levitsky, kes sündis Kiievis aastal 1735, pärines perest, mida isutasid sügavalt Ukraina kunstipärimused. Tema isa, Grigory Kirillovich Levitsky-Nos, ei olnud pelgalt preest, vaid ka erakordne graveerija ja maalari, keda teenis noore Dmitri esimesena juhendajana visuaalse avalduse maailma. See varajane õpetus pani loomise olulise aluse, instilleerides kunstnikku austust detailide vastu ja algmäärset vormitunnet. Pere liikumine St. Peterburki piirde umbes aastal 1758 oli murdepunkt, mis avas uksed ametlikule kunstipõhjale auast Aleksey Antropovi õppetundide all. Antropovi mõju osutus oluliseks; ta andis Levitskyle objektiivsuse tunnet, mis sai hiljem tema täiskasvanud stiili üks eripära.
Levitski teekond ei olnud määratud ainult õpilikkusega. Ta imetas teadmisi teistelt meistritelt, sealhulgas Louis Lagrenéelt St. Peterburgi Kunstiakadeemias, täiendades nii oma tehnikat. Tema suurt läbimurrutust märkasid kõik aastal 1770, kui Keela Kunstiakadeemias toimus kuue portree näitus. Need teosed ei demonstreerinud pelgalt tehnilist oskust; need tabasid eriletud aristokraatlikku tundlikkust, mis leidis sügava vastukaja Ekaterina Suure Venetsia õukondlikus ringkondades. Akadeemia direktori ja esimese rektori Alexander Kokorinovi portree oli eriti mõjuva, tasustades Levitskile akadeemiku staatuse ja professori ametikoha portreetmaalamise valdkonnas just selles asutusest, kus ta kunagi õpilasena õppis. See nimetamine kinnistas tema positsiooni ühena Venetsia juhtivaks kunstnikuks.
KPerhaps Levitski kõige kuulsam saavutus peitub portreidess, mille Ekaterina II tellitas Smolny noisest instituutile aastate vahel 1772–1776. Need ei olnud pelgalt sarnikud; need olid hoolikalt konstrueritud esitused noorenud virtusest, ilu ja potentsiaalist. Iga portree kujutab õpilast tegevuses – tantsu, muusika või draamatika – kehastades hariduse ja kultuuritunnet, mida Ekaterina instituut kaudu edasipromoteerida soovis. Kompositsiooniline struktuur, mis oli mõjutatud Euroopa klassikalisest portreetrust, rõhutas iga istuja väärikust ja tähtsust, samas kui Levitski meisterlik valguse ja värvi kasutamine tõi neisse aristokraatsete kasvatuse stseenidesse elavuse. Need maalid ei ole vaid ajaloolised dokumentid; need on aknad 1eks sajandile omase Vene ühiskonna ambitsioonide ja väärtuste sisse.
Levitski kunstilisi oskusi isutas võimas võime tabada nii oma teema füüsilist sarnikust kui ka tema sisemist iseloomu. Ta liikus kaugemale pelgust esitlusest, andes oma portreetidele psühholoogilise sügavuse ja sotsiaalse nüanssi. Tema tehnika ühendas täpne detailikäsitlus ja õrna puudutusega pildid, mis olid korraga nii realistlikud kui ka idealiseeritud. Kuigi ta nautis elu jooksul suurt edukust, piinasinud tema hilisemaid aastaid finantsitrikud. Haldematu nägemine sundis teda 1790. aastatel oma maalimist tegevust piirama, kuigi ta jäi akadeemias ülipea liikmena endiselt seotud. Vaatamata neile väljakutsetele jättis Levitsky endale püsiva pärandi kui üks Venetsia esikunstnikud portreetrust, koos oma ajastike rõhutatud kunstnikud nagu Fjodor Rokotov ja Vladimir Borovikovsky.
Levitski töö pakub vääramatut vaadet Vene aristokraatia elule ja väärtustele olulise sotsiaalsete ja poliitiliste muutuste ajastul. Tema portreed ei ole lihtsalt kaunid esemed; need on ajaloolised artefaktid, mis peegeldavad eliitklasside arenevaid maitseid, ambitsioone ja enesepertseptsiooni.
