Uuendatud oktoober 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 60 teost Dmitri Grigorievitš Levitski meie kataloogis
Lühidalt
Kõigist Dmitri Grigorievitš Levitski jäetud originaalteostest on kõige kuulsam Portrait of Catherine II of Russia in red dress. (1782), mis kuulub Varssavi Rahvusmuuseum kogele linnas Varssavi. Järgnevad sellest Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice (1780) ja Portrait of Countess Ursula Mniszek (1782). Meie kataloogist löytyb 60 teost kunstnikult Dmitri Grigorievitš Levitski; galeriist on säilitatud 60 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
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…
The light catches the subject from the left, washing over Maria Ivanovna Narychkine with a soft, deliberate glow. She sits in a three-quarter view, her presence commanding the space despite the dark, indeterminate background that pushes her forward. There is a quiet dignity in her expression, a subtle knowingness that suggests a woman deeply aware of her station and the weight of her lineage. Her skin appears luminous, almost translucent,…
In the Portrait of B.V. Umsky by Dmitry Levitzky, a middle-aged man occupies the center of a formal, full-length arrangement. He sits within the curved arms of an ornate armchair, his body angled slightly while his gaze meets the viewer directly. To his left, a single classical stone column rises, providing a rigid verticality that anchors the scene. Behind him, a large, draped grey curtain falls in heavy folds, creating…
The gaze of La Maréchale d'Arseniev meets the viewer from a three-quarter view, capturing a moment of quietude within the grand traditions of the late eighteenth century. Painted by Dmitry Levitzky around 1782, this oil on canvas presents a noblewoman who embodies a profound sense of poise and aristocratic calm. She exists in a space of dignified stillness, her presence defined by a composure that suggests both her high social…
Dmitry Levitzky rendered this portrait of Catherine the Great in 1780. The subject, also known as Catherine II, occupied the throne as Empress of Russia from 9 July 1762 until 1796. This likeness captures the sovereign during a period of significant social and political change within the Russian Empire.
The portrait presents Yekaterina Dashkova in a three-quarter view, captured from the waist up against a dark, atmospheric background. The composition relies on a high-contrast interplay between the luminous skin tones of the subject and the deep, shadowed environment. A soft chiaroscuro effect, directed from the upper left, illuminates the contours of her face and the intricate textures of her attire. Her presence is defined by the structured lines of…
This oil on canvas work is the Portrait of Nikolai Novikov, a significant piece by the artist Dmitry Levitzky. Created around 1790, the painting captures a moment of quiet dignity in the life of its subject. Levitzky, a prominent figure in the Russian portrait tradition, brings a sense of presence to this formal representation.
Portrait of Maria Dyakova1778 · Tretyakovi kunstgalerii
12
Portrait of E. N. Khruschova and Princess E. N. KhovanskayaVenemaa Riiklik Muuseum
13
Portrait of Mikhail Krechetnikov1770 · Hermitage muuseum
14
Portrait of the Princesses Davidova and Rzevskaja1771 · Venemaa Riiklik Muuseum
15
Portrait of Catherine II1782
16
Irina Vasilyeva (count)Fine Arts Museum Kharkiv
17
Portrait of Gubareva
18
Portrait of Y. I. BilibinHermitage muuseum
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 muuseum
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 · Tretyakovi kunstgalerii
56
Portrait of Alexander KokorinoVenemaa Riiklik Muuseum
57
Portrait of E. A. VorontsovaVenemaa Riiklik Muuseum
58
Portrait of Anna Davia (D'Avia) BernucciTretyakovi kunstgalerii
59
Portrait of Catherine IVenemaa Riiklik Muuseum
60
Portrait of Prokofiy Demidov1773 · Tretyakovi kunstgalerii
#1 Portrait of Catherine II of Russia in red dress.
#2 Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice
#3 Portrait of Countess Ursula Mniszek
#4 Portrait of A.I. Novikova (? )
#5 Portrait of Maria Ivanovna Narychkine (1731-1807), formerly known as Portrait of Princess Maria Pavlovna Narychkine
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
#1 Portrait of Catherine II of Russia in red dress.
#2 Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice
#3 Portrait of Countess Ursula Mniszek
#5 Portrait of Maria Ivanovna Narychkine (1731-1807), formerly known as Portrait of Princess Maria Pavlovna Narychkine
Kümne 7 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Dmitri Grigorievitš Levitski teosid | Selle nimekirja maalid |
|---|---|---|---|
 Tretyakovi kunstgalerii |
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 |
 Hermitage muuseum |
Stiiitlinburg | 5 | Portrait of A.I. Novikova (? ), Portrait of Nikolai Novikov, Portrait of Mikhail Krechetnikov |
 Venemaa Riiklik Muuseum |
Stiiitlinburg | 5 | Portrait of E. N. Khruschova and Princess E. N. Khovanskaya, Portrait of the Princesses Davidova and Rzevskaja, Portrait of Alexander Kokorino |
 Varssavi Rahvusmuuseum |
Varssavi | 2 | Portrait of Catherine II of Russia in red dress., Catherine the Great |
 Armenia Riiklik Kunstimuuseum |
Jerevan | 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) |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
The light catches the subject from the left, washing over Maria Ivanovna Narychkine with a soft, deliberate glow. She sits in a three-quarter view, her presence commanding the space despite the dark, indeterminate background that pushes her forward. There is a quiet dignity in her expression, a subtle knowingness that suggests a woman deeply aware of her station and the weight of her lineage. Her skin appears luminous, almost translucent,…
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), Varssavi Rahvusmuuseum, Varssavi. Järgnevad Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice (1780) ja Portrait of Countess Ursula Mniszek (1782).
47 aastat vanus: teos Portrait of Catherine II of Russia in red dress. on pärinev aastast 1782 ning Dmitri Grigorievitš Levitski sündis aastal 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 ja Portrait of Nikolai Novikov. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 60 teost kunstnikult Dmitri Grigorievitš Levitski, mis on pärinevad ajastust 1770 kuni 1794.
Peamiselt Tretyakovi kunstgalerii (Moskva), Hermitage muuseum (Stiiitlinburg) ja Venemaa Riiklik Muuseum (Stiiitlinburg) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1780s: 8 60 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Portrait of Catherine II of Russia in red dress..
Sellel lehel on kõige vanem teos Portrait of B.V. Umsky (1770) ja kõige värskeim Portrait of A.I. Novikova (? ) (1794).
Portraits (33), Woman (9) ja Lace (6), kogu selle lehekülje 60 teose kohta.
Oil On Canvas, 8 teoseks 60 töödelt sellel lehel.
Rococo, seda lähtudes selle lehe originaalteostest.
Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice, Portrait of Countess Ursula Mniszek ja Portrait of Maria Dyakova: Tretyakovi kunstgalerii, Moskva säilitab 6 selle lehel olevat teost.
Dmitry Grigoryevich Levitsky, kes sündis Kiievis aastal 1735, pärines perest, mida isutasid sügavalt Ukraina kunstipärimused. Tema isa, Grigory Kirillovich Levitsky-Nos, ei olnud pelgalt preest, vaid ka erakordne graveerija ja maalari, keda teenis noore Dmitri esimesena juhendajana visuaalse avalduse maailma. See varajane õpetus pani loomise olulise aluse, instilleerides kunstnikku austust detailide vastu ja algmäärset vormitunnet. Pere liikumine St. Peterburki piirde umbes aastal 1758 oli murdepunkt, mis avas uksed ametlikule kunstipõhjale auast Aleksey Antropovi õppetundide all. Antropovi mõju osutus oluliseks; ta andis Levitskyle objektiivsuse tunnet, mis sai hiljem tema täiskasvanud stiili üks eripära.
Levitski teekond ei olnud määratud ainult õpilikkusega. Ta imetas teadmisi teistelt meistritelt, sealhulgas Louis Lagrenéelt St. Peterburgi Kunstiakadeemias, täiendades nii oma tehnikat. Tema suurt läbimurrutust märkasid kõik aastal 1770, kui Keela Kunstiakadeemias toimus kuue portree näitus. Need teosed ei demonstreerinud pelgalt tehnilist oskust; need tabasid eriletud aristokraatlikku tundlikkust, mis leidis sügava vastukaja Ekaterina Suure Venetsia õukondlikus ringkondades. Akadeemia direktori ja esimese rektori Alexander Kokorinovi portree oli eriti mõjuva, tasustades Levitskile akadeemiku staatuse ja professori ametikoha portreetmaalamise valdkonnas just selles asutusest, kus ta kunagi õpilasena õppis. See nimetamine kinnistas tema positsiooni ühena Venetsia juhtivaks kunstnikuks.
KPerhaps Levitski kõige kuulsam saavutus peitub portreidess, mille Ekaterina II tellitas Smolny noisest instituutile aastate vahel 1772–1776. Need ei olnud pelgalt sarnikud; need olid hoolikalt konstrueritud esitused noorenud virtusest, ilu ja potentsiaalist. Iga portree kujutab õpilast tegevuses – tantsu, muusika või draamatika – kehastades hariduse ja kultuuritunnet, mida Ekaterina instituut kaudu edasipromoteerida soovis. Kompositsiooniline struktuur, mis oli mõjutatud Euroopa klassikalisest portreetrust, rõhutas iga istuja väärikust ja tähtsust, samas kui Levitski meisterlik valguse ja värvi kasutamine tõi neisse aristokraatsete kasvatuse stseenidesse elavuse. Need maalid ei ole vaid ajaloolised dokumentid; need on aknad 1eks sajandile omase Vene ühiskonna ambitsioonide ja väärtuste sisse.
Levitski kunstilisi oskusi isutas võimas võime tabada nii oma teema füüsilist sarnikust kui ka tema sisemist iseloomu. Ta liikus kaugemale pelgust esitlusest, andes oma portreetidele psühholoogilise sügavuse ja sotsiaalse nüanssi. Tema tehnika ühendas täpne detailikäsitlus ja õrna puudutusega pildid, mis olid korraga nii realistlikud kui ka idealiseeritud. Kuigi ta nautis elu jooksul suurt edukust, piinasinud tema hilisemaid aastaid finantsitrikud. Haldematu nägemine sundis teda 1790. aastatel oma maalimist tegevust piirama, kuigi ta jäi akadeemias ülipea liikmena endiselt seotud. Vaatamata neile väljakutsetele jättis Levitsky endale püsiva pärandi kui üks Venetsia esikunstnikud portreetrust, koos oma ajastike rõhutatud kunstnikud nagu Fjodor Rokotov ja Vladimir Borovikovsky.
Levitski töö pakub vääramatut vaadet Vene aristokraatia elule ja väärtustele olulise sotsiaalsete ja poliitiliste muutuste ajastul. Tema portreed ei ole lihtsalt kaunid esemed; need on ajaloolised artefaktid, mis peegeldavad eliitklasside arenevaid maitseid, ambitsioone ja enesepertseptsiooni.
