Updated октобар 2026 · ranked by our popularity score (searches, visits and orders for each work) · 60 works by Dmitrij Grigorjevič Levicki 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 Dmitrij Grigorjevič Levicki; 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 Dmitrij Grigorjevič Levicki 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. KhovanskayaДржавни руски музеј
13
Portrait of Mikhail Krechetnikov1770 · Ermitaž
14
Portrait of the Princesses Davidova and Rzevskaja1771 · Државни руски музеј
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 KokorinoДржавни руски музеј
57
Portrait of E. A. VorontsovaДржавни руски музеј
58
Portrait of Anna Davia (D'Avia) BernucciTretyakovljeva galerija
59
Portrait of Catherine IДржавни руски музеј
60
Portrait of Prokofiy Demidov1773 · Tretyakovljeva galerija
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 Dmitrij Grigorjevič Levicki | Paintings from this list |
|---|---|---|---|
 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 |
 Државни руски музеј |
St. Petersburg | 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 |
Vašington, 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: Dmitrij Grigorjevič Levicki 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 Dmitrij Grigorjevič Levicki, dated between 1770 and 1794.
Principally in Tretyakovljeva galerija (Moskva), Ermitaž (Sankt Peterburg) and Државни руски музеј (St. Petersburg). 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 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 porodice duboko ukorenjene u umetničke tradicije Ukrajine. Njegov otac, Grigorij Kirilovič Levicki-Nos, nije bio samo sveštenik, već i vešti gravir i slikar, koji je služio kao prvi vodič mladog Dmitrija kroz svet vizuelnog izražavanja. Ovo rano podučavanje postavilo je presudne temelje, ulijećući u njega poštovanje prema detalju i početno razumevanje forme. Selidba porodice u Sankt Trograd oko 1758. godine označila je ključni trenutak, otvarajući vrata formalnom umetničkom školovanju pod okiem cenjenog Alekseja Antropova. Antropov uticaj se pokazao značajnim; on mu je podučio objektivnost koja će postati zaštitni znak Levickijevog zrelog stila.
Levickijev put nije bio definisan isključivo učenikom. Upijao je znanje od drugih majstora, uključujući Luisa Lagrenéa u Sankt Trogradskoj akademiji umetnosti, dodatno usavršavajući svoju tehniku. Njegov prelomni trenutak stigao je 1ron 1770. godine sa izložbom šest portreta u Imperijalnoj akademiji umetnosti. Ova dela nisu samo pokazivala tehničku veštinu; ona su dočarala specifičnu aristokratsku senzibilnost koja je duboko odjeknula u dvoratskim krugovima Rusije Katarine Velike. Portret Aleksandra Kokorinova, direktora i prvog rektora Akademije, pokazao se posebno snažnim, donoseći Levickiju status akademskog člana i profesuru portretne slike na upravo onoj instituciji gde je nekada bio student. Ovo imenovanje učvrstilo je njegov položaj kao jednog od vodećih ruskih umetnika.
Možda je najveće Levickijevo dostignuće sadržano u seriji portreta koje je Katarina II naručila za Smolni institut za mlade dame između 1772. i 1776. godine. To nisu bili samo likovni prikazi; to su bile pažljivo konstruisane predstave mladalačke vrline, gracioznosti i potencijala. Svaki portret prikazuje učenicu u raznim aktivnostima – ples, muziku, dramsku predstavu – otelotvorujući ideale obrazovanja i prefinjenosti koje je Katarina nastojala da promoviše kroz Institut. Kompoziciona struktura, pod uticajem evropskog formalnog portreta, naglašavala je dostojanstvo i važnost svakog modela, dok je majstorstvo Levickije u upotrebi svetlosti i boje unelo živopisni život u ove scene aristokratskog odgoja. Ove slike nisu samo istorijski dokumenti; one su prozori u aspiracije i vrednosti ruskog društva 18. veka.
Levickijeva umetnost bila je karakterisana izvanrednom sposobnošću da uhvati kako fizičku sličnost, tako i unutrašnji karakter svojih subjekata. On se kretao izvan okvira običnog predstavljanja, prožimajući svoje portrete osećajem psihološke dubine i društvene nijanse. Njegova tehnika je spajala pedantni detalj sa delikatnim dodirivanjem, stvarajući slike koje su istovremeno bile realistične i idealizovane. Iako je tokom života uživao u značajnom uspehu, finansijske poteškoće su proganjale njegove poznije godine. Narušeni vid primorao ga je da ograniči svoje slikarstvo 1790-ih godina, iako je ostao povezan sa Akademijom kao član saveta. Uprkos ovim izazovima, Levicki je za sobom ostavio neprolazno nasleđe kao jedan od najznačajnijih ruskih portretista, rame uz rame sa savremenima poput Fjodora Rokotova i Vladimira Borovikovskog.
Levickijevo delo pruža neprocenjiv uvid u živote i vrednosti ruske aristokratije tokom perioda značajnih društvenih i političkih promena. Njegovi portreti nisu samo lepi predmeti; oni su istorijski artefakti koji odražavaju evoluirajući ukus, težnje i samoosećanje jedne elite. Njegova sposobnost da uravnoteži realizam sa idealizacijom, zajedno sa njegovom tehničkom majstorstvom, učinila ga je definisnom figurom u ruskom portretizmu. Danas, Levickijeve slike nastavljaju da očaravaju publiku svojom elegancijom, psihološkom dubinom i trajnom lepotom. One nude pogled u prošlo doba, podsećajući nas na moć umetnosti da uhvati ne samo spoljašnji izgled, već i duh jednog vremena.
