Dmitry Levitzky's most famous painting is Portrait of Catherine II of Russia in red dress. (1782), in the National Museum in Warsaw, Warsaw. With Portrait of Catherine II the Legislatress in the Temple Devoted to the Godess of Justice (1780) and Portrait of Countess Ursula Mniszek (1782), it completes the three works everyone recognises. Our catalogue lists 60 works by Dmitry Levitzky; the 60 below are the ones the world looks at most, each with its year, the museum that holds it and why it matters.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated October 2026. Every masterpiece on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, at the size you choose.
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 Portrait of Maria Dyakova is an oil on canvas work executed by Dmitry Levitzky in 1778. Classified within the portrait genre, the piece reflects the Rococo style…
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The gaze of the subject in Portrait of an Unknown Woman with a Rose meets the viewer from a moment frozen in 1788. This portrait, painted by the…
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The four subjects that return most often among these masterpieces, with the finest example of each.
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) |
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,…
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…
Portrait of Catherine II of Russia in red dress. (1782), National Museum in Warsaw, Warsaw. Next come 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: 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 the year and the museum of each.
Our catalogue lists 60 works by Dmitry Levitzky, dated from 1770 to 1794.
Most of them are in Tretyakov Gallery (Moscow), Hermitage Museum (Saint Petersburg) and The State Russian Museum (St. Petersburg). The table above lists the museums one by one.
In 1780s: 8 of the 60 works on this page date from then, among them Portrait of Catherine II of Russia in red dress..
The earliest on this page is Portrait of B.V. Umsky (1770), the latest Portrait of A.I. Novikova (? ) (1794).
Portraits (33), 18th century (6) and Woman (5), among the 60 works on this page.
Oil On Canvas: 5 of the 60 works on this page.
Rococo, as the paintings on this page show.
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 are among the 6 works on this page held by the Tretyakov Gallery, Moscow.
Yes. Every painting on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, in the size you choose, 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.
