Portrait of Catherine II. Rokotov Fedor Stepanovich, portrait of Catherine II (photo)

2024 Author: Leah Sherlock | [email protected]. Last modified: 2024-01-07 19:44

Reformist, foreign policy and military activities, which significantly strengthened the Russian state, characterize the Empress as a legislator and educator, a far-sighted strategist, a wise politician and diplomat. It was not for nothing that contemporaries called her Great during her lifetime. She is indeed considered an outstanding statesman, despite the criticism of researchers about her moral qualities and a tough stance in establishing serfdom.

In the eyes of the greatest masters of fine arts, she appears as a noble, purposeful, fearless and fair ruler of the throne. The portrait of Catherine 2 is a reflection of the ideal monarch, who ensured the prosperity of science, education, culture and raised the political prestige of the state.

The figure of the great empress: the path to rule

Catherine 2 was born in April 1729, by origin she was a purebred German, originally from a poor principality. When she was fourteen, she moved to Russia in the status of the bride of the heir to the throne of Peter III. Two years later, she converted to Orthodoxy and was sent towife to the future emperor.

Even in her youth, Catherine was distinguished by her sharp mind, cunning and observation, easily manipulated others to achieve her goal. She was happy to study the sciences, read a lot and independently mastered Russian and French. All this knowledge in the near future was useful to her as a source of successful government. This is how the historical portrait of Catherine II began to take shape, the main features of which were a strong-willed core, courage, vanity, pride and cunning. She had two important talents - turning off her own emotions in favor of rationalism and easily gaining everyone's sympathy.

Thus, Catherine quietly and confidently advanced to the imperial throne, carrying out a coup six months after the proclamation of Peter III as emperor and eventually overthrowing her husband.

The "Golden Age" of the Catherine era

Starting to rule, the mistress accepted the state system in absolute ruin, which spurred her to develop a new set of laws. At the heart of the "golden age" of the reign of Catherine 2, the following is clearly visible:

1. Politics of "enlightened absolutism" and reforms:

• privileges for nobles, strengthening their power;
• tightening the feudal system;
• creating a system of educational institutions with unified plans;
• development of local self-government in cities;
• branching of the court system.

2. Externalpolicy:

• victorious end of two Russo-Turkish wars;
• victory over the Swedes;
• getting new lands (modern territory of Crimea, Right-bank Ukraine and Belarus) - 11 provinces out of 50 existing at that time were conquered during the reign of the empress;
• strengthening the southern borders, freedom of trade in the Black Sea;
• improving positions in the B altic region, Transcaucasia and the Caucasus.

The historical portrait of Catherine II cannot be brought under a specific stereotype: for some, she is a wise ruler, for others, a tyrant, but in the end, the significance of her figure for the events of world history is undeniable.

The face of Catherine 2: image traditions

In the 18th century, two distinct traditions of the image of the great empress in Russian art were determined.

The first concerns her idealization, emphasizing her best features and qualities. The portrait of Catherine 2 is considered in the context of the ex altation of the monarch, who cares about his people, opens educational institutions, carries out reforms, develops art, cares about justice. This approach is reflected in the picturesque masterpieces of Fyodor Rokotov and Dmitry Levitsky.

The second tradition is the desire to "humanize" the appearance of the empress, which permeates the portrait of Catherine 2 with more sensual colors. Modesty, courtesy, friendliness, condescension to other people's shortcomings, a sense of duty come to the fore,generosity. All this is easily visible in the works of the artist Vladimir Borovikovsky.

Fyodor Stepanovich Rokotov: life path

The famous Russian artist was born in the village of Vorontsovo. Initially, he received his education thanks to the support of L.-J. Le Lorrain and P. de Rotary. He mastered the basics of fine art in the Rococo style. And in 1960 he was admitted to the St. Petersburg Academy of Arts by order of the philanthropist I. I. Shuvalov. Five years later he was awarded the title of academician. At the end of 1766 he moved to Moscow, where he continued to work on the creation of new paintings. His life was interrupted in December 1808.

Creative legacy

Fyodor Stepanovich Rokotov was an excellent portrait painter, deeply imbued with nature and distinguished by diligent performance. By the beginning of the 60s, he was already respected as a skilled craftsman, as evidenced by the order for a portrait of Catherine II. This was a real recognition of the painter's talent. After the first work written by Rokotov on the accession of the empress to the throne, the second one followed - a half-length portrait of a great woman, with which she was very pleased, describing him as "the most similar".

In addition to these masterpieces, Rokotov painted portraits of Peter III, Tsarevich Pavel, nobleman I. I. Shuvalov, Count Orlov, Count Struysky and his wife, as well as many other prominent personalities of the Catherine era.

Highest Achievement in Ceremonial Portrait

In 1763, whencoronation celebrations were held in honor of the accession of the Empress to the throne, a ceremonial portrait of Catherine 2 was painted. Rokotov was awarded such an honorary mission.

The image of the Empress was recreated by the artist very skillfully: a smooth snow-white face, a strong-willed look, confident gestures. A woman at the peak of her beauty, a real mistress! She firmly grasps the scepter in her hand, directing it towards the bust of Peter I, above which is the inscription: "What has been started is done." The combination of the silvery palette of the outfit and the noble red shade of the curtains emphasizes the special significance of the figure skillfully depicted on the canvas.

Rokotov created the second portrait of Catherine II using a profile manner, which is quite rare for a formal portrait. But this gave the ruler an ideal character. Noble facial features, proud posture, some dynamism in gestures, plus trappings of power and rich drapery - the desired effect is achieved.

As a priestess

Dmitry Grigoryevich Levitsky created a portrait of Catherine II using the symbols of justice and fairness. Her Imperial Majesty appears in the form of a legislator, a priestess, who is in the temple of the goddess Themis. The lady on the altar burns poppies as a sign of sacrificing her own peace for the common good. On her head, instead of the imperial crown, there is a laurel crown. The figure of the empress is decorated with mantles with the Order of St. Andrew the First-Called, a ribbon and a cross of St. Vladimir, which is evidence of her special merits to the Fatherland. Levitskythe portrait of Catherine 2 was supplemented with codes of laws at her feet and an eagle sitting on them - symbols of strength and security. Against the background, the merchant fleet is noticeable - a messenger of the prosperity of the state.

Even the verbal description of the portrait of Catherine 2 illustrates her as an ideal ruler, vigilantly caring for her country.

An imprint of sentimentalism

Wishing to present the Great Empress in a more sentimental way, with emphasized natural simplicity, resting in the bosom of nature, the famous artist Vladimir Borovikovsky created a portrait of Catherine 2 in two versions. One - against the backdrop of the Chesme column, the second - against the backdrop of the Kagul obelisk.

This work was not painted from life, in the clothes of the empress, her camera-frau posed for the author, but the artist could often watch Catherine during a walk. She was not delighted with the results of Borovikovsky's work, because the portrait depicted an elderly woman walking with a staff through Tsarskoye Selo Park in an underlined informal attire. Here the ruler is no longer represented by a goddess, but by an ordinary landowner, without pathos and ceremonial paraphernalia.

But nevertheless, the paintings of not only Fyodor Rokotov and Dmitry Levitsky, but also Vladimir Borovikovsky are universally recognized masterpieces that best characterize the personality of the mistress of the Russian throne.