In 1764, the Smolny Institute for Noble Maidens, the first educational institution for women, was opened by an edict of Catherine the Great. The project was supposed to translate the ideas of European Enlightenment into life — the Empress hoped that educated young women would help mollify the cruel morals of society and create a ‘new breed of people’.
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Portrait of E.I. Nelidova
Creation period
1773
Dimensions
164x106 cm
Technique
Oil on canvas
Collection
Exhibition
25
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Dmitry Levitsky
Portrait of E.I. Nelidova
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In1773, the Summer Gardens of St. Petersburg saw the ‘first public promenade’ of Smolny young ladies. To mark the ceremonial event, Catherine the Great commissioned portraits of Smolny students to artist Dmitry Levitsky.
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The portrait of Ekaterina Nelidova, the second one in the ‘Smolny Girls’ (Smolyanki) series, was done by Levitsky in the same year. Like all the other characters of the series, Nelidova was one of best students of the Institute. She graduated with Honours and was awarded a gold medal and a maid of honour cypher (monogram) of Catherine the Great, the sign of distinction of a lady-in-waiting. She served at the court almost all her life, was a favourite of Paul I.
In the portrait, Nelidova is only 15 years old. She is performing a dance in a stage dress. It is probably the costume of Serpina, a smart character from Giovanni Pergolesi’s opera The Servant Turned Mistress (La Serva Padrona). That was the role played by Nelidova at the Institute theatre. She is said to have played so well that her admirers dedicated verses to her performance.
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Stepan Galaktionov (1779 — 1854). Smolny Institute. Lithoprint. 1823
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It was certainly not only dancing that was taught at the Smolny Institute. Girls were taught all talents appreciated in society — foreign languages, etiquette, singing and playing musical instruments. They studied from six to eighteen years old. The girls’ parents were required to sign off on not withdrawing them from the Institute before graduation.
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The Smolny Girls made Dmitry Levitsky famous as a portraitist; the series is believed to be among his best works. It is remarkable that the artist does not embellish the girls’ looks, unlike what was fairly common in classicism painting. Despite decorativeness of presentation, he created life-like and realistic characters.
Dmitry Levitsky. Portrait of E.I. Nelidova. Oil on canvas. 1773. Before restoration
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Dmitry Levitsky. Portrait of E.I. Nelidova. Oil on canvas. 1773. In the process of restoration
Up until 1917, the Smolny girls’ portraits were at the Imperial Palace in Peterhof. The pictures suffered from humidity but Nelidova’s portrait has survived in a better shape than the others. During the 2008–2012 restoration, old layers of the yellowed varnish were removed from the canvas uncovering the colours intended by the artist — bright blue for the sky, grey and not brown for the dress and soft pink for the girl’s face.
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State Russian Museum
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Portrait of E.I. Nelidova
Creation period
1773
Dimensions
164x106 cm
Technique
Oil on canvas
Collection
Exhibition
25
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