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Portrait of Catherine II of Russia in red dress. (1782) is recorded as the most famous painting of Dmitro Grigorovič Levickij; it is held by the Narodni muzej u Varšavi, Varšava. 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 Dmitro Grigorovič Levickij 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 · Tretyakovljeva galerija
12
Portrait of E. N. Khruschova and Princess E. N. KhovanskayaDržavni ruski muzej
13
Portrait of Mikhail Krechetnikov1770 · Ermitaž
14
Portrait of the Princesses Davidova and Rzevskaja1771 · Državni ruski muzej
15
Portrait of Catherine II1782
16
Irina Vasilyeva (count)Fine Arts Museum Kharkiv
17
Portrait of Gubareva
18
Portrait of Y. I. BilibinErmitaž
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 BigErmitaž
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 · Tretyakovljeva galerija
56
Portrait of Alexander KokorinoDržavni ruski muzej
57
Portrait of E. A. VorontsovaDržavni ruski muzej
58
Portrait of Anna Davia (D'Avia) BernucciTretyakovljeva galerija
59
Portrait of Catherine IDržavni ruski muzej
60
Portrait of Prokofiy Demidov1773 · Tretyakovljeva galerija
The four subjects most frequently represented among these works, each with its best-known example.
7 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Dmitro Grigorovič Levickij | Slike iz ovog popisa |
|---|---|---|---|
 Tretyakovljeva galerija |
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 |
 Ermitaž |
Sankt Peterburg | 5 | Portrait of A.I. Novikova (? ), Portrait of Nikolai Novikov, Portrait of Mikhail Krechetnikov |
 Državni ruski muzej |
Sankt Peterburg | 5 | Portrait of E. N. Khruschova and Princess E. N. Khovanskaya, Portrait of the Princesses Davidova and Rzevskaja, Portrait of Alexander Kokorino |
 Narodni muzej u Varšavi |
Varšava | 2 | Portrait of Catherine II of Russia in red dress., Catherine the Great |
 Nacionalna galerija Armenije |
Jerevan | 1 | Portrait of B.V. Umsky |
 Hillwood Estate, Muzej i vrtovi |
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), Narodni muzej u Varšavi, Varšava. 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: Dmitro Grigorovič Levickij 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 i Portrait of Nikolai Novikov. The list above records the date and holding museum of each.
The catalogue records 60 works by Dmitro Grigorovič Levickij, dated between 1770 and 1794.
Principally in Tretyakovljeva galerija (Moskva), Ermitaž (Sankt Peterburg) i Državni ruski muzej (Sankt Peterburg). 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) i 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 i Portrait of Maria Dyakova are among the 6 works on this page in the collection of the Tretyakovljeva galerija, 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.
Dmitrij Grigorjevič Levicki, rođen u Kijevu 1735. godine, izronio je iz obitelji duboko ukorijenjene u umjetničkim tradicijama Ukrajine. Njegov otac, Grigorij Kirilovič Levicki-Nos, nije bio samo svećenik, već i vješt graver i slikar, služeći kao prvi voditelj mladog Dmitrija u svijet vizualnog izražavanja. Ovo rano podučavanje postavilo je ključne temelje, ulijećući u njega poštovanje prema detaljima i rano razumijevanje forme. Obiteljski preseljak u Sankt Peterburg oko 1758. godine označio je presudni trenutak, otvarajući vrata formalnom umjetničkom školovanju pod pokroviteljstvom cijenjenog Alekseja Antropova. Antropov utjecaj se pokazao značajnim; on mu je podučio objektivnost koja će postati zaštitni znak Levickijevog zrelog stila.
Levickijev put nije bio definiran isključivo šegrtovstvom. Upijao je znanje od drugih majstora, uključujući Louisa Lagrenéea u Sankt Peterburškoj akademiji umjetnosti, dodatno usavršavajući svoju tehniku. Njegov trenutak proboja stigao je 1ms 1770. godine s izložbom šest portreta u Imperialnoj akademiji umjetnosti. Ova djela nisu samo pokazivala tehničku vještinu; ona su dočarala izraženu aristokratsku senzibilitetnost koja je duboko odjeknula u dvoranskim krugovima Rusije Katarine Velike. Portret Aleksandra Kokorinova, direktora i prvog rektora Akademije, pokazao se posebno utjecajnim, donoseći Levickiju status akademika i profesuru u slikarstvu portreta na upravo onoj instituciji gdje je nekada bio student. Ovo imenovanje učvrstilo je njegov položaj kao jednog od vodećih ruskih umjetnika.
Možda je najveće Levickijevo postignuće smješteno u seriju portreta koje je Katarina II naručila za Smolni institut za mlade dame između 1772. i 1776. godine. To nisu bili samo likovni prikazi; bili su to pažljivo konstruirani prikazi mladenačke vrline, gracioznosti i potencijala. Svaki portret prikazuje učenicu u raznim aktivnostima – ples, glazbu, dramsku izvedbu – utjelovujući ideale obrazovanja i uglađenosti koje je Katarina nastojala promicati kroz Institut. Kompozicijska struktura, pod utjecajem europskog formalnog portretizma, naglašavala je dostojanstvo i važnost svakog modela, dok je majstorstvo Levickijeve upotrebe svjetla i boje unijelo živopisni život u ove scene aristokratskog odgoja. Ove slike nisu samo povijesni dokumenti; one su prozori u težnje i vrijednosti ruskog društva 18. stoljeća.
Levickijeva umjetnost obilježena je iznimnom sposobnošću prianjanja kako fizičkog sličja, tako i unutarnjeg karaktera svojih subjekata. Izašao je iz okvira puke reprezentacije, prožimajući svoje portrete osjećajem psihološke dubine i društvene nijanse. Njegova tehnika miješala je pedantni detalj s nježnim dodirom, stvarajući slike koje su istovremeno bile realistične i idealizirane. Iako je tijekom života uživao u značajnom uspjehu, financijske poteškoće proganjale su njegove posljednje godine. Pogoršanje vida prisililo ga je da ograniči svoje slikarstvo 1ms 1790-ih, iako je ostao povezan s Akademijom kao član vijeća. Unatoč tim izazovima, Levicki je zaustavio neprolazno naslijeđe kao jedan od najistaknutijih ruskih portretista, uz suvremenike poput Fjodora Rokotova i Vladimira Borovikovskog.
Levickijevo djelo pruža neprocjenjiv uvid u živote i vrijednosti ruske aristokracije tijekom razdoblja značajnih društvenih i političkih promjena. Njegovi portreti nisu samo lijepi predmeti; oni su povijesni artefakti koji odražavaju evoluirajući ukus, težnje i samoopperciju jedne elite. Njegova sposobnost uravnotežiti realizam s idealizacijom, zajedno s njegovom tehničkom majstorstvom, učinila ga je definirajućom figurom u ruskom portretizmu. Danas Levickijeve slike nastavljaju očaravati publiku svojom elegancijom, psihološkom dubinom i trajnom ljepotom. One nude pogled u prošlo doba, podsjećajući nas na moć umjetnosti da uhvati ne samo izgled, već i duh jednog vremena.
