Dmitry Levitsky became famous as a ceremonial portrait painter. In 1783, Prince Alexander Bezborodko, a great connoisseur of painting and Levitsky’s protector, ordered the painter a portrait of Catherine II to decorate his mansion in Saint Petersburg.
Portrait of Catherine II the Legislatress
Creation period
1783
Dimensions
261x201 cm
Technique
Canvas, oil
Collection
Exhibition
33
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Dmitry Levitsky
Portrait of Catherine II the Legislatress
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In 1783, Dmitry Levitsky published a detailed explanation of the program of this portrait in the journal Interlocutor of Lovers of the Russian World: in the painting art of the 18th century, whole systems of symbols and images called ‘programs’ were often used. As a rule, such ‘programs’ were not invented by painters themselves. It is believed that the poet Nikolay Lvov, a bright representative of the Russian Age of Enlightenment, created the program for the portrait of Catherine II.
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Catherine the Great reined from 1762 to 1796. Under her rule, the Russian Empire won several wars and considerably enlarged its territory. Foreign neighbors started to treat Russia as a powerful empire and an enlightened European country. The Empress took interest in literature and painting and developed the arts.
Dmitry Levitsky used numerous allegories in the portrait to convey Catherine’s achievements. Catherine II is painted in the temple of Themis, the Goddess of Justice. There is a sculpture of this goddess with the Scales of Justice in the background. On the floor near the Empress, there are books with state laws, a symbol of truth, protected by an eagle with an olive branch in its beak.
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The Empress is burning poppies, an antique symbol of sleep and oblivion, on the altar. In this way, the painter conveyed the Empress’s readiness to sacrifice her comfort for the prosperity of Russia.
Fyodor Rokotov (1735-1808). The Coronation Portrait of Catherine II. Canvas, oil. 1763. The State Tretyakov Gallery
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It is worth noting that though Dmitry Levitsky painted more than 20 portraits of Catherine II, however, there is no evidence of her sitting for him. To paint the Empress’s face, the artist used the works by court portrait painter Fyodor Rokotov. Catherine II liked her coronation portrait a lot and ordered to use Rokotov’s work for all her new portraits.
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Intellectual elite perceived Catherine II the Legislatress as an abstract image of an ideal monarch. Dmitry Levitsky, as well as other painters, created various versions and replicas of that portrait. Gavriil Derzhavin wrote an ode The Murza’s Vision about the Empress appearing before him as a goddess. In 1789, Fedot Shubin returned to this plot and created a sculpture of Catherine II.
Fedot Shubin (1740–1805). Catherine II the Legislatress. Marble. 1789. The State Russian Museum
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State Russian Museum
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Portrait of Catherine II the Legislatress
Creation period
1783
Dimensions
261x201 cm
Technique
Canvas, oil
Collection
Exhibition
33
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