Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 60 works by Dmitry Levitzky in our catalogue
In short
Of all the originals Dmitry Levitzky left, the most famous is Portrait of Catherine II of Russia in red dress. (1782), in the collection of the National Museum in Warsaw, Warsaw. Close behind 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). Our catalog holds 60 works by Dmitry Levitzky; the gallery has kept the 60 the world admires most, each shown with its date, its museum and its story.
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 · Tretyakov Gallery
12
Portrait of E. N. Khruschova and Princess E. N. KhovanskayaThe State Russian Museum
13
Portrait of Mikhail Krechetnikov1770 · Hermitage Museum
14
Portrait of the Princesses Davidova and Rzevskaja1771 · The State Russian Museum
15
Portrait of Catherine II1782
16
Irina Vasilyeva (count)Fine Arts Museum Kharkiv
17
Portrait of Gubareva
18
Portrait of Y. I. BilibinHermitage Museum
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 BigHermitage Museum
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 · Tretyakov Gallery
56
Portrait of Alexander KokorinoThe State Russian Museum
57
Portrait of E. A. VorontsovaThe State Russian Museum
58
Portrait of Anna Davia (D'Avia) BernucciTretyakov Gallery
59
Portrait of Catherine IThe State Russian Museum
60
Portrait of Prokofiy Demidov1773 · Tretyakov Gallery
The four subjects that come back most often in these originals, each with its finest example.
The 7 museums that hold the most of the paintings on this page.
| Museum | City | Works by Dmitry Levitzky | Paintings from this list |
|---|---|---|---|
 Tretyakov Gallery |
Moscow | 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 |
 Hermitage Museum |
Saint Petersburg | 5 | Portrait of A.I. Novikova (? ), Portrait of Nikolai Novikov, Portrait of Mikhail Krechetnikov |
 The State Russian Museum |
St. Petersburg | 5 | Portrait of E. N. Khruschova and Princess E. N. Khovanskaya, Portrait of the Princesses Davidova and Rzevskaja, Portrait of Alexander Kokorino |
 National Museum in Warsaw |
Warsaw | 2 | Portrait of Catherine II of Russia in red dress., Catherine the Great |
 National Gallery of Armenia |
Yerevan | 1 | Portrait of B.V. Umsky |
 Hillwood Estate, Музей та Сади |
Washington, D.C. | 1 | Portrait of Yekaterina Dashkova |
 Fine Arts Museum Kharkiv |
Kharkiv | 1 | Irina Vasilyeva (count) |
Pick a decade to see the original that defines it.
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), National Museum in Warsaw, Warsaw. Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice (1780) and Portrait of Countess Ursula Mniszek (1782) come next.
47 years old: Portrait of Catherine II of Russia in red dress. dates from 1782, and Dmitry Levitzky was born in 1735.
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 ranking above gives each one's year and museum.
Our catalog holds 60 works by Dmitry Levitzky, dated from 1770 to 1794.
Mostly in Tretyakov Gallery (Moscow), Hermitage Museum (Saint Petersburg) and The State Russian Museum (St. Petersburg). The museum table above lists them all.
In 1780s: 8 of the 60 works on this page were made then, Portrait of Catherine II of Russia in red dress. among them.
On this page, the earliest is Portrait of B.V. Umsky (1770) and the latest Portrait of A.I. Novikova (? ) (1794).
Portraits (33), 18th century (6) and Woman (5), across the 60 works on this page.
Oil On Canvas, for 5 of the 60 works on this page.
Rococo, judging by the originals 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: the Tretyakov Gallery, Moscow holds 6 of the works on this page.
Yes, as a reproduction: the original stays in its museum, but any painting on this page can be painted by hand for you, made to order one at a time, from the painting's own page.
Dmitry Grigoryevich Levitsky, born in Kyiv in 1735, emerged from a family deeply rooted in the artistic traditions of Ukraine. His father, Grigory Kirillovich Levitsky-Nos, was not merely a priest but also an accomplished engraver and painter, serving as young Dmitry’s initial guide into the world of visual expression. This early tutelage laid a crucial foundation, instilling in him a reverence for detail and a nascent understanding of form. The family's move to St. Petersburg around 1758 marked a pivotal moment, opening doors to formal artistic training under the esteemed Aleksey Antropov. Antropov’s influence proved significant; he imparted an objectivity that would become a hallmark of Levitsky’s mature style.
Levitsky's path wasn’t solely defined by apprenticeship. He absorbed knowledge from other masters, including Louis Lagrenée at the St. Petersburg Academy of Arts, further refining his technique. His breakthrough arrived in 1770 with an exhibition of six portraits at the Imperial Academy of Arts. These works didn’t simply showcase technical skill; they captured a distinct aristocratic sensibility that resonated deeply within the courtly circles of Catherine the Great's Russia. The portrait of Alexander Kokorinov, Director and First Rector of the Academy, proved particularly impactful, earning Levitsky academician status and a professorship in portrait painting at the very institution where he had once been a student. This appointment solidified his position as one of Russia’s leading artists.
Perhaps Levitsky's most celebrated achievement lies within the series of portraits commissioned by Catherine II for the Smolny Institute for Young Ladies between 1772 and 1776. These weren’t merely likenesses; they were carefully constructed representations of youthful virtue, grace, and potential. Each portrait depicts a student engaged in various activities – dancing, music, dramatic performance – embodying the ideals of education and refinement that Catherine sought to promote through the Institute. The compositional structure, influenced by European formal portraiture, emphasized the dignity and importance of each sitter, while Levitsky’s masterful use of light and color brought a vibrant life to these scenes of aristocratic upbringing. These paintings are not just historical documents; they are windows into the aspirations and values of 18th-century Russian society.
Levitsky's artistry was characterized by a remarkable ability to capture both the physical likeness and the inner character of his subjects. He moved beyond mere representation, imbuing his portraits with a sense of psychological depth and social nuance. His technique blended meticulous detail with a delicate touch, creating images that were simultaneously realistic and idealized. While he enjoyed considerable success during his lifetime, financial hardship plagued his later years. Deteriorating eyesight forced him to curtail his painting activities in the 1790s, though he remained connected to the Academy as a council member. Despite these challenges, Levitsky left behind an enduring legacy as one of Russia’s foremost portrait painters, alongside contemporaries like Fyodor Rokotov and Vladimir Borovikovsky.
Levitsky's work provides invaluable insight into the lives and values of the Russian aristocracy during a period of significant social and political change. His portraits are not simply beautiful objects; they are historical artifacts that reflect the evolving tastes, aspirations, and self-perception of an elite class. His ability to balance realism with idealization, coupled with his technical mastery, established him as a defining figure in Russian portraiture. Today, Levitsky’s paintings continue to captivate audiences with their elegance, psychological depth, and enduring beauty. They offer a glimpse into a bygone era, reminding us of the power of art to capture not just appearances but also the spirit of a time.
