Levitsky Dmitry Grigorievich
Dmitry Grigorievich Levitsky is one of the most prominent Russian portrait painters of the second half of the 18th century, a key figure of the era of Catherine's classicism. I've picked up the main facts about his life and work — let's see!
Biography
He was born in 1735 in Kiev (according to some sources, in the village of Mayachka, Poltava regiment).
His father, Grigory Kirillovich Levitsky, was a priest, as well as an engraver and painter — it was he who became his son's first teacher. Later Dmitry studied with Alexey Antropov. Together with his father, he even participated in the painting of St. Andrew's Cathedral in Kiev.
Around 1758, he moved to St. Petersburg. He continued his studies in the capital, including attending L.J.-F. classes. Lagrenet, took lessons from J. Valeriani and G. I. Kozlova.
In 1762, he and other artists were sent to Moscow to create murals for the triumphal gates on the occasion of the coronation of Catherine II. He also painted icons for Moscow churches.
In 1770, Levitsky presented several works at the Academy of Fine Arts exhibition. For his portrait of the architect A. F. Kokorinov, he received the title of academician.
From 1771 to 1788, he led a portrait class at the Academy of Fine Arts. In 1776 he was promoted to the rank of adviser, and in 1786 he became a member of the Academy Council. Later, in 1807, at the insistence of A. F. Labzin, he rejoined the council and remained there until the end of his life.
Place of residence. In 1792-1822, Levitsky lived in St. Petersburg on the Congress line of Vasilievsky Island (now it is the Cadet line, house 23).
The family. The artist was married to Anastasia Yakovlevna Levitskaya (1744-1832). The couple had a daughter, Agafya. The wife outlived her husband and died in St. Petersburg at the age of 88.
In the late 1790s, he was ordained a Freemason (in the first three degrees), and was a member of the Dying Sphinx Lodge in St. Petersburg.
In the 1800s, the artist's eyesight deteriorated significantly, and he practically stopped working. The last known work dates back to 1812.
He died in 1822 in St. Petersburg and was buried at the Smolensk Orthodox Cemetery (the grave was eventually lost). He was married to Anastasia Yakovlevna Levitskaya, and they had a daughter, Agafya.
Creation
Master of portraiture. Levitsky became famous as a master of various types of portraits: ceremonial, chamber, allegorical, as well as "portrait in the role." He was able not only to capture the appearance, but also to reveal the character of the model. Levitsky really became a key figure of the Russian portrait of the XVIII century. He not only followed established canons, but skillfully transformed them: he combined the rigor of classicism with a lively, direct characteristic of the model, while avoiding baroque redundancy. In his works, a person's personality comes to the fore, not just their status.
An order from the Empress. In 1783, by order of Vice-Chancellor Alexander Bezborodko, Levitsky painted a ceremonial portrait of Catherine II — "Catherine II in the form of a legislator in the temple of the goddess of justice." In the painting, the Empress is depicted burning poppy flowers on the altar — a symbol of the sacrifice of personal peace for the common good.
Portrait of Diderot. In 1773, the artist created a portrait of the French enlightener Denis Diderot. Levitsky portrayed the philosopher in a housecoat, without a wig, with bags under his eyes — it turned out to be a very lively, human image. Not all contemporaries liked this approach: for example, the critic Alexandre Benois later reproached the master for emphasizing the "gobbler" in Diderot, losing sight of his grandiose mind.
Influence. Levitsky had a significant influence on the next generations of artists — among his students were V. L. Borovikovsky, S. S. Shchukin, M. I. Drozhdin, E. D. Kamezhenkov.
What was typical of his style
Attention to individuality. Levitsky sought to capture and convey the character, temperament, and even minor features of the model. He did not flatter, but tried to show the person truthfully — with all the strengths and weaknesses.
Mastery of the details. The artist masterfully painted out textures: the fragility of expensive satin, the transparency of lace, the shine of jewelry, the play of light on fabrics.
Working with composition and light. He sought expressive poses and gestures, and was able to harmoniously combine the intensity of color with the overall tonal solution. He often used a background that was "illuminated" from the inside, which gave the portraits a special airiness.
The evolution from the front to the chamber. In his early works (late 1760s - early 1770s) Levitsky shone as a master of ceremonial portraits. But gradually, chamber, intimate intonations intensified in his work.
In his later works, the artist began to notice more often the features of reflection and bitterness in the models, perhaps partly transferring his own experiences to them.