Updated октобар 2026 · ranked by our popularity score (searches, visits and orders for each work) · 60 works by Dmitrij Grigorjevič Levicki in our catalogue
In short
The Dmitrij Grigorjevič Levicki painting most people know is Portrait of Catherine II of Russia in red dress. (1782), and you can see it at the Narodni muzej u Varšavi, Varšava. Right after it come Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice (1780) and Portrait of Countess Ursula Mniszek (1782). Out of 60 works by Dmitrij Grigorjevič Levicki in our catalogue, these 60 are the best known. Each one comes with its year, its museum and a short note on what makes it stand out.
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 that come up most often in these pieces, 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) |
Pick a decade to see its standout piece.
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…
Top of the list is Portrait of Catherine II of Russia in red dress. (1782), Narodni muzej u Varšavi, Varšava. Right behind it: 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 old. Dmitrij Grigorjevič Levicki was born in 1735, and Portrait of Catherine II of Russia in red dress. dates from 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. You'll find the year and the museum of each in the list above.
We have 60 works by Dmitrij Grigorjevič Levicki in our catalogue, dated 1770 to 1794.
You'll find most of them in Tretyakovljeva galerija (Moskva), Ermitaž (Sankt Peterburg) and Државни руски музеј (St. Petersburg). The museum list above has the full breakdown.
In 1780s, more than any other time: 8 of the 60 pieces on this page date from then, Portrait of Catherine II of Russia in red dress. among them.
The earliest piece here is Portrait of B.V. Umsky (1770); the most recent is Portrait of A.I. Novikova (? ) (1794).
Portraits (33), 18th century (6) and Woman (5), out of the 60 pieces on this page.
Oil On Canvas, used in 5 of the 60 pieces on this page.
Rococo, as you can see in the pieces on this page.
You can see 6 of the pieces on this page at the Tretyakovljeva galerija, Moskva, including 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.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
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.
