Jerzy Dawe's most famous painting is Portrait of Emperor Alexander I (1824), in the Ermitaż, Sankt Petersburg. With Portrait of Admiral Alexander S. Shishkov (1754-1841) (1826) and Portrait of Arseny A. Zakrevsky (1783-1865) (1820), it completes the three works everyone recognises. Our catalogue lists 233 works by Jerzy Dawe; the 100 below are the ones the world looks at most, each with its year, the museum that holds it and why it matters.
Ranking oparty na naszym wskaźniku popularności, który łączy liczbę wyszukiwań, wizyt oraz zamówień dla każdego dzieła. Aktualizacja: Październik 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 Emperor Alexander I is a significant work by the English portraitist George Dawe. Created about 1824, this full-length portrait captures the Russian Emperor, Alexander I, in a moment of formal repose. The painting offers a direct encounter with the sovereign, presented in his capacity as a military leader.
A heavy silence settles in the room where the Admiral sits. He is an old man now, his face a map of weathered authority, etched with the fine lines of a life spent navigating both salt spray and political currents. His gaze is direct, meeting the observer with a steady, unblinking clarity that demands respect. The navy blue of his uniform is deep and somber, a stark contrast to the…
Arseny A. Zakrevsky is rendered in a bust-length composition, his gaze directed slightly to the viewer's left with a stoic, composed expression. The portrait captures a man of high-ranking military status, defined by the rigid structure of his nineteenth-century uniform. Dark hair is combed back from a forehead marked by a serious, authoritative countenance. Light enters from the upper left, casting soft shadows across the right side of the face…
Nikolai Sipyagin sits in a moment of quiet dignity, his body angled in a three-quarter view that suggests a man caught between duty and contemplation. He looks upward and toward the left, his eyes fixed on a point beyond the frame, as if scanning a distant battlefield or a future yet to unfold. The light catches the pale contours of his face, carving out the structure of his features against…
A single, steady gaze meets the viewer from a three-quarter view. The Grand Duke Nikolai Pavlovich is rendered in a dark military uniform, the fabric a deep navy or black that absorbs the light. Against this somberness, gold epaulettes and a crimson sash cut through the darkness. He holds a helmet in his left hand, the metal catching a glint of light. The silhouette is sharp, defined by the precision…
A single man occupies the center of this oil on canvas, his presence defined by a quiet, aristocratic composure. He sits in a bust-length pose, turned slightly toward the left, yet his eyes remain fixed upon the observer. The light enters from the upper left, carving the contours of his face with a soft, directional glow. This illumination casts gentle shadows across his features, lending a three-dimensional depth to his…
A single figure dominates the canvas, anchored by the rigid geometry of a military tunic. Count Alexey Arakcheyev meets the viewer's gaze with a steady, unyielding presence. The navy blue fabric of his uniform absorbs the light, while the gold of his epaulettes catches it, casting a sharp, metallic glint against the muted landscape. He is a man of structure. His posture is a vertical line of discipline, cutting through…
A single figure occupies the space, leaning with a heavy, practiced grace against the cold cylinder of a bronze cannon. Edward, Duke of Kent, is rendered in the sharp clarity of the Neoclassical tradition, his silhouette defined by the stark contrast of a scarlet military jacket against the dim, atmospheric air. The light falls from the upper left, carving the planes of his face and catching the fine, white feathers…
The gaze of history settles upon the Portrait of Grand Duchess Alexandra Fiodorovna with Children, a work by the English portraitist George Dawe. Within this frame, the Empress Alexandra Feodorovna of Russia, born Princess Charlotte of Prussia, sits in a moment of quiet, regal presence. She is not alone in this assembly; her two eldest children, Alexander and Maria Nikolaevna, are gathered by her side, anchoring the scene in a…
George Dawe painted Portrait of Empress Maria Feodorovna in Mourning about 1825. The subject is Empress Maria Feodorovna, originally born Duchess Sophie Dorothea of Württemberg. She held the position of Empress of Russia as the second wife of Emperor Paul I, following his assassination in 1801.
In this 1821 oil on canvas, we encounter Piotr Konovnitsyn, a man whose presence fills the space with a quiet, heavy authority. He is depicted in a three-quarter…
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A formal bust-length portrait of Ivan F. Paskevich, rendered in oil on canvas, captures the subject in a three-quarter turn. The composition emphasizes the rigid structure of a…
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The portrait presents a man in three-quarter view, positioned slightly off-center and facing toward the left. His gaze is directed toward the viewer. He wears a dark military…
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This oil on canvas portrait, dated 1822, depicts Fabian Gottlieb von der Osten-Sacken in a half-length pose. The subject is positioned slightly off-center, facing toward the viewer's right,…
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The gaze of Karl von Pirch meets the viewer from across the decades, fixed in a moment of quiet, commanding presence. Painted by George Dawe in 1821, this…
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In this portrait of Alexander S. Menshikov, we encounter a man defined by the gravity of his station. Painted around 1825, the work presents the subject in a…
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The portrait presents Empress Dowager Maria Feodorovna in a full-length composition, positioned with a slight off-center grace against a dramatic, moody landscape. She is draped in a voluminous…
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A formal bust-length portrait of Baron Pyotr Ivanovich Meller-Zakomelsky, rendered in 1823. The subject is positioned slightly off-center, his gaze meeting the observer with a steady, direct presence.…
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In this 1822 portrait, we encounter the Grand Duchess Maria Pavlovna, captured in a moment of quiet, regal composure. She is presented in a three-quarter length view, her…
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The Portrait of Charlotte von Lieven (1742/43-1828) is an oil on canvas work executed by the artist George Dawe. Dated 1827, this portrait depicts Charlotte Margarete Fürstin von…
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The Portrait of Miguel Ricardo de Alava by George Dawe captures a moment of quiet authority. This oil on canvas painting presents the likeness of Miguel Ricardo de…
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A vertical axis of authority anchors the canvas. Emperor Alexander I stands centered, a pillar of dark fabric against a vast, breathing landscape. The military tunic, deep and…
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To stand before this portrait is to step directly into the charged atmosphere of early nineteenth-century military life. George Dawe’s depiction of Alexander P. Kutuzov is far more…
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The air in the portrait feels heavy with the stillness of a quiet morning, yet the subject’s gaze reaches toward something far beyond the frame. Major General Prince…
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A single gaze meets the viewer from the shadows of a navy blue uniform. Leonty L. Bennigsen sits in the quiet stillness of 1822, his presence defined by…
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The air in the room seems to thicken as we encounter the presence of Ivan N. Durnovo. He does not merely sit for a portrait; he occupies the…
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A high-ranking military officer is rendered in a half-length composition, his gaze meeting the viewer with a quiet, steady confidence. He is dressed in full ceremonial regalia, the…
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Andrey Vasilyevich Bogdanovsky sits in a stillness that feels earned. His gaze is fixed slightly away from the viewer, directed toward a horizon only he can see. The…
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The air in the room feels heavy with the stillness of a man caught in a moment of quiet reflection amidst a life of action. Karl G. Stahl…
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The subject sits in a moment of quiet, heavy authority, his presence filling the space with the weight of military duty. He is positioned slightly off-center, his body…
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In this bust-length portrait, we encounter Andrey P. Zass, a man whose very posture speaks of the heavy responsibilities of high-ranking military life. He is positioned slightly off-center,…
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The air in the room seems to thicken with the weight of history as we face the bust-length portrait of Karl I. Bistrom. He does not look at…
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The air in the room seems to thicken around the figure of Alexander A. Bibikov. He sits in a three-quarter view, his gaze directed toward the right of…
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The Weight of Command Alexander, Prince of Wurttemberg is captured in a moment of stillness. He sits slightly off-center, his gaze directed toward the right of the frame.…
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The air in the room feels heavy with the stillness of a man who has seen the smoke of battle. Andrey I. Gudovich sits before us, his gaze…
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The Weight of Command A formal bust-length portrait of Fyodor F. Leviz, rendered in 1822, captures an elderly military figure in three-quarter profile. He gazes toward the left,…
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Nikolai M. Sipyagin gazes toward the upper left, his eyes fixed on a horizon unseen by the viewer. He sits in a three-quarter view, a posture that suggests…
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The air in the room feels heavy with the quiet dignity of a man who has seen the smoke of Borodino. Lieutenant General Yeremey Yakovlevich Savoini sits before…
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In this 1824 oil portrait, we encounter Gavriil Amvrosijevič Lukovkin, a man whose very presence suggests the gravity of his station. He is presented in a bust-length composition,…
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Ilya I. Alexeyev is rendered in a formal, bust-length composition, positioned at a subtle three-quarter turn. The portrait captures a man of high military standing, defined by an…
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A single light source carves the profile of Alexei P. Yermolov against a void of shadow. The illumination catches the ridge of a nose and the firm set…
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A single light source strikes the forehead and cheek of Alexander K. Riedinger, carving his features out of a murky, atmospheric void. He sits in a bust-length pose,…
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The portrait presents a bust-length view of Ivan Z. Yershov, positioned slightly off-center. He faces toward the viewer's left, while his gaze is directed forward to meet the…
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In this oil on canvas, we encounter Gerasim A. Shostakov, a man whose very posture speaks of the weight of command. The portrait, executed around 1824, presents the…
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The portrait depicts Anton A. Skalon, a Russian major general, presented in a bust-length composition. He is positioned centrally, with his torso turned slightly toward the viewer's left…
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The sitter, Pyotr P. Schroeder, is presented in a bust-length composition that emphasizes his status through the heavy weight of military regalia. He faces forward, though his gaze…
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The portrait depicts Fyodor V. (Dietrich Jacob) Tijl van Seraskerken, a man positioned in a bust-length view. He is oriented slightly toward the viewer's left, though his gaze…
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In this oil portrait, we encounter Pavel P. Pahlen, a man whose very presence commands the space around him. The composition is a bust-length study, positioning the subject…
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The portrait presents a bust-length view of Alexandr Ivanovich Talyzin, a Russian general, positioned slightly off-center against a muted gold and ochre background. He faces forward with a…
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The portrait presents a bust-length view of Nikolai I. Depreradovich, positioned centrally against a muted background of olive greens and ochre. He faces slightly toward the viewer's left,…
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A single gaze meets the observer from the dimness of a navy uniform. Mikhail Nikolayevich Matsnev sits with a quiet, heavy dignity, his presence anchored by the sharp…
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In this 1824 oil portrait, we encounter Ilya F. Chernozubov, a man whose very presence commands the space he occupies. He is presented in a bust-length composition, his…
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In this bust-length portrait, we encounter Alexander F. Langeron, a man whose very posture suggests the weight of high military office. He is positioned slightly off-center, his gaze…
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The gaze of Nikolai Dmitrievich Olsufyev meets the observer with a steady, unflinching intensity. He sits in a moment of quietude, yet the air around him feels heavy…
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A single gaze meets the viewer from the year 1820. Dmitry M. Mordvinov sits in a three-quarter view, his body angled toward the left while his eyes remain…
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A formal bust-length portrait of Major General Fyodor Vasilyevich Zvarykin, rendered in oil on canvas. The subject gazes directly at the viewer with a stoic, steady expression. He…
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The subject sits with a quiet, heavy dignity, his presence filling the space with the weight of command. He faces slightly toward the viewer's left, yet his gaze…
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In this oil on canvas, we encounter Fyodor F. d'Auvray, a man whose presence fills the frame with the quiet gravity of a long military career. He is…
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The air in the room feels heavy with the presence of Mikhail Mikhailovich Volkov, a man whose very posture commands silence. He sits at a slight angle, his…
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A single light source strikes from the upper left, carving the weathered features of Anton S. Chalikov out of a dark, atmospheric void. The light catches the sharp…
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Maxim Fyodorovich Stavitsky is rendered in a formal, bust-length composition, his gaze directed toward the observer from a slight angle. He wears the dark green uniform of a…
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The air in the room seems to thicken with the weight of command as Faddei F. Steingel meets the viewer's eyes. He sits in a moment of quiet…
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A single light source carves the face of Alexey G. Shcherbatov from a void of deep browns and blacks. His gaze is directed upward and toward the left,…
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A single gaze directed toward the upper right defines the presence of Nikolai N. Rayevsky. He sits in a three-quarter view, his chest rising from a dark military…
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A quiet authority fills the room as Mikhail S. Vorontsov meets the viewer's gaze. He sits in a moment of stillness, his expression calm yet heavy with the…
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A formal profile view captures the subject in a moment of quiet, stern dignity. The composition focuses on the upper torso and head, set against a textured, atmospheric…
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Matvey I. von der Pahlen sits before us, a man whose very presence commands the space around him. He is captured in a bust-length view, his body turned…
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This bust-length oil portrait depicts Fyodor F. Rosen, a man of middle age positioned slightly off-center. He is oriented toward the right of the frame, his gaze directed…
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The portrait depicts Pyotr A. Kosen, a man with curly hair and sideburns, presented in a medium close-up from the chest upward. He is positioned centrally against a…
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In this bust-length portrait, we encounter Grigory G. Engelhardt at a moment of quiet, heavy dignity. He is positioned slightly off-center, his gaze meeting the observer with a…
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Lieutenant General Yevgeny Ivanovich Markov is rendered in a bust-length composition that emphasizes the gravity of his station. He faces slightly to the right, yet his gaze is…
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A single gaze meets the observer from the shadows of 1823. Alexander E. Pyker sits centered in the frame, his presence defined by the sharp geometry of a…
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A steady, calm gaze meets the viewer from the shadows of 1823. Yegor I. Meller-Zakomelsky sits in a medium close-up, his presence defined by the quiet gravity of…
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The air in the room seems to thicken around the figure of Matvey I. Platov. He sits in a moment of quiet, heavy authority, his gaze meeting the…
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A single gaze meets the observer from 1822. Boris Kh. Richter sits in the quiet center of the frame, his presence anchored by the heavy, dark navy of…
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A single gaze meets the observer from the shadows of 1822. Pyotr K. Essen sits in a space of quiet, dark atmosphere, his presence defined by the sharp…
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In this 1823 oil portrait, we encounter Konstantin Kh. von Benckendorf, a man whose very presence commands the space around him. He is captured in a medium close-up,…
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In this formal, full-length portrait, we encounter Grand Prince Konstantin Pavlovich in a moment of quiet, authoritative dignity. The composition is strictly vertical, anchoring the figure against an…
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Vasily Mikhaylovich Lavrentyev is presented in full military regalia, a figure of quiet authority positioned within a grand, classical hall. The composition utilizes a vertical orientation to emphasize…
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The Portrait of Illarion V. Vasilchikov (1775/76-1847) (1st) is an oil portrait by the English artist George Dawe. Executed about 1822, the work identifies the subject as Illarion…
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Nikolai N. Khovansky is rendered in a formal, bust-length composition, his gaze directed slightly away from the viewer toward the right. He wears a dark navy military uniform,…
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In this 1822 oil portrait, we encounter Ivan F. Udom, a man whose presence is defined by the quiet weight of his station. The subject is captured in…
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A steady gaze meets the viewer from a face etched by time and duty. Mikhail A. Shkapsky sits in a quiet, dark space, his presence defined by the…
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A heavy red curtain hangs to the left, its deep folds absorbing the light. Beside it, a pale sky of yellow and blue stretches over a hazy, distant…
Bring it home →The four subjects that return most often among these masterpieces, with the finest example of each.
4 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzeum | Miasto | Dzieła artysty Jerzy Dawe | Obrazy z tej listy |
|---|---|---|---|
 Ermitaż |
Sankt Petersburg | 213 | Portrait of Emperor Alexander I, Portrait of Admiral Alexander S. Shishkov (1754-1841), Portrait of Arseny A. Zakrevsky (1783-1865) |
 Royal Collection |
Londyn | 9 | Charlotte (Alexandra Feodorovna), Empress of Russia, with her eldest children, Alexander and Maria, Leopold, Prince of Saxe-Coburg-Saalfeld, later Leopold I, King of the Belgians (1790-1865), Alexander I, Emperor of Russia (1777-1825) |
 Pałac Buckingham |
Londyn | 2 | Edward, Duke of Kent (1767-1820), Ernst I (1784-1844), Duke of Saxe-Coburg-Gotah |
 Museum of New Zealand Te Papa Tongarewa |
Wellington | 2 | Achilles frantic for the loss of Patroclus, rejecting the consolation of Thetis, Portrait of Princess Charlotte of Wales |
A single figure occupies the space, leaning with a heavy, practiced grace against the cold cylinder of a bronze cannon. Edward, Duke of Kent, is rendered in the…
The Portrait of Emperor Alexander I is a significant work by the English portraitist George Dawe. Created about 1824, this full-length portrait captures the Russian Emperor, Alexander I,…
Portrait of Emperor Alexander I (1824), Ermitaż, Sankt Petersburg. Next come Portrait of Admiral Alexander S. Shishkov (1754-1841) (1826) and Portrait of Arseny A. Zakrevsky (1783-1865) (1820).
43 years old: Portrait of Emperor Alexander I dates from 1824 and Jerzy Dawe was born in 1781.
Portrait of Emperor Alexander I, Portrait of Admiral Alexander S. Shishkov (1754-1841), Portrait of Arseny A. Zakrevsky (1783-1865), Portrait of Nikolai Sipyagin (1785-1828), Portrait of Grand Duke Nikolai Pavlovich, Portrait of Kirill A. Naryshkin (1786-1838), Portrait of Count Alexey Arakcheyev, Edward, Duke of Kent (1767-1820), Portrait of Grand Duchess Alexandra Fiodorovna with Children i Portrait of Empress Maria Feodorovna in Mourning. The ranking above gives the year and the museum of each.
Our catalogue lists 233 works by Jerzy Dawe, dated from 1803 to 1829.
Most of them are in Ermitaż (Sankt Petersburg), Royal Collection (Londyn) i Pałac Buckingham (Londyn). The table above lists the museums one by one.
In 1820s: 81 of the 100 works on this page date from then, among them Portrait of Emperor Alexander I.
The earliest on this page is Achilles frantic for the loss of Patroclus, rejecting the consolation of Thetis (1803), the latest Portrait of Anton S. Chalikov (1754-1821) (1829).
Man (78), Military uniform (78) i Medals (59), among the 100 works on this page.
Oil On Canvas: 78 of the 100 works on this page.
Neoclassicism, as the paintings on this page show.
Portrait of Emperor Alexander I, Portrait of Admiral Alexander S. Shishkov (1754-1841) i Portrait of Arseny A. Zakrevsky (1783-1865) are among the 83 works on this page held by the Ermitaż, Sankt Petersburg.
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.
Jerzy Dawe jawi się jako jeden z najważniejszych angielskich portrecistów XIX wieku, człowiek, którego pędzel uchwycił samą esencję epoki zdefiniowanej przez konflikty napoleońskie i imperialny przepych. Urodzony w St James's w Wielkiej Brytanii, Dawe był zanurzony w świecie sztuki od najwcześniejszych lat. Był synem Philipa Dawe, słynnego rytownika mezzotinty, i dorastał w rodzinie, w której talent artystyczny stanowił wspólne dziedzictwo. Jego wczesne szkolenie rozpoczęło się pod czujnym okiem ojca, co pozwoliło mu doskonielić umiejętności rytownicze, zanim jego ambicje rozszerzyły się na znacznie większe i bardziej świetliste medium malarstwa olejnego. To fundamenty oparte na precyzyjnej linii i głębi tonalnej w późniejszym czasie przełożyły się na niezwykłą dbałość o detal, którą odnajdujemy na jego najsławniejszych płótnach.
Jego droga przez świat akademicki była naznaczona wybitnymi osiągnięciami. Po studiach w Royal Academy of Arts, gdzie zdobył prestiżowy Złoty Medal Szkoły Królewskiej Akademii, reputacja Dawe zaczęła gwałtownie rosnąć. Ostatecznie został Członkiem Stowarzyszonym, a później pełnoprawnym Akademikiem, co stanowiło symbol jego wejścia do elity brytyjskiego środowiska artystycznego. Jednak to nie w londyńskich salonach Dawe osiągnął swój najtrwalszy wpływ historyczny, lecz w samym sercu Rosji.
W 1819 roku Dawe przeniósł się do Sankt Petersburga, co fundamentalnie zmieniło bieg jego kariery i historii sztuki. W tej tętniącej życiem imperialnej stolicy znalazł się w centrum monumentalnego przedsięlamienia: tworzenia Galerii Wojskowej Pałacu Zimowego. Ten ambitny projekt zaowocował stworzeniem przez Dawe niezwykłego cyklu 329 portretów rosyjskich generałów, którzy brali udział w obronie kraju podczas inwazji Napoleona na Rosję. Poprzez te dzieła Dawe zrobił coś więcej niż tylko utrwalił rysy twarzy; udokumentował heroizm oraz psychologiczny ciężar narodowej obrony.
Jego czas spędzony w Rosji spotkał się z głębokim uznaniem. Stał się celebrytą wśród rosyjskich elit artystycznych, zdobywając pochwały, które docierały nawet do legendarnego poety Puszkina. Umiejętność łączenia formalnych wymogów portretu z głębokim, emocjonalnym rezonansem pozwoliła mu uchwycić złożone charaktery wojskowej elity. Bez względu na to, czy przedstawiał pełną dowódczego majestatu postać Dmitriego V. Gołicyna, czy introspektywne, niemal upiorne spojrzenie Michaiła Kutuzowa, twórczość Dawe służyła jako żywy zapis historyczny najważniejszych postaci tamtej ery.
Styl artystyczny Dawe był wyrafinowaną tkaniną utkaną z różnorodnych wpływów. Jego wczesne mistrzostwo w rytownictwie zapewniło mu bezprecedensowe zrozumienie światła, cienia i formy, które z niezwykłą biegłością przeniósł na płótna olejne. W wielu aspektach jego twórczość można postrzegać przez pryzmat zarówno neoklasycyzmu, jak i romantyzmu:
Ostatecznie znaczenie twórczości Jerzego Dawe tkwi w jego zdolności do wykraczania poza zwykłe podobieństwo. Był artystą, który potrafił uchwycić ciężar odpowiedzialności na ramionach generała oraz ulotną naturę chwały poprzez jedno, pieczołowicie oddane spojrzenie. Jego życie i dzieło pozostają mostem łączącym zdyscyplinowane tradycje angielskiej akademii z epicką, burzliwą historią Imperialnej Rosji.
