Portrait of Catherine 2. Rokotov Fedor Stepanovich, portrait of Catherine II (photo)

Reforming, foreign policy and military activity, which significantly strengthened the Russian state, characterizes the empress as a legislator and educator, a visionary strategist, a wise politician and diplomat. Not for nothing that contemporaries during her lifetime titled her Great. She really is considered an outstanding statesman, despite the criticism of researchers about her moral qualities and tough stance in approving serfdom.

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

The figure of the great empress: the path to government

Catherine II was born in April 1729, by birth was a purebred German, a native of a poor principality. When she was fourteen, she moved to Russia in the status of the bride of the heir to the throne, Peter III. After two years Orthodoxy was accepted and was given to the future emperor's wife.

Even in her youth, Catherine was distinguished by a sharp mind, cunning and observant, easily manipulated by others to achieve her goal. She enjoyed studying the sciences with pleasure, 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. So began to form a historical portrait of Catherine II, the main features of which became a strong-willed core, courage, vanity, pride and cunning. She had two important talents - to turn off her own emotions in favor of rationalism and easily gain universal sympathy.

Thus, Catherine quietly and confidently moved to the imperial throne, having made a coup in six months after the proclamation of Peter III by the emperor and eventually overthrowing her husband.

The Golden Age of the Catherine's Era

Having begun to rule, the lady 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 the following is clearly seen:

1. The policy of "enlightened absolutism" and reform:

• Privileges for the nobility, strengthening their power;

• Toughening of the feudal system;

• Creation of a system of educational institutions with unified plans;

• Development of local government in cities;

• Branching of the ship system.

2. Foreign policy:

• Victorious completion of the two Russo-Turkish wars;

• Victory over the Swedes;

• The acquisition of new lands (the modern territory of the Crimea, the Right-Bank Ukraine and Byelorussia) - 11 gubernias of 50 existing at that time were conquered under the empress's rule;

• Strengthening of southern borders, freedom of trade in the Black Sea;

• Improvement of positions in the Baltic region, Transcaucasia and the Caucasus.

The historical portrait of Catherine 2 can not be summed up for a specific stereotype: for some, she is a wise ruler, for others - a tyrant, but as a result, the significance of her figure for the events of world history is undeniable.

Face of Catherine 2: the tradition of the image

In the XVIII century, two clearly defined traditions of the image of the great empress in Russian art.

The first concerns its idealization, emphasizing the best traits and qualities. The portrait of Catherine II is considered in the context of the exaltation of the monarch, who cares about his people, opens educational institutions, carries out reforms, develops art, cares for justice. This approach found its reflection in the picturesque masterpieces of Fedor Rokotov and Dmitry Levitsky.

The second tradition consists in the desire to "humanize" the image of the empress, which permeates the portrait of Catherine II with more sensual colors. Modesty, courtesy, friendliness, indulgence towards other people's shortcomings, a sense of duty, generosity come to the fore. All this can easily be seen in the works of the artist Vladimir Borovikovsky.

Fedor Stepanovich Rokotov: the way of life

A well-known Russian artist was born in the village of Vorontsovo. Originally education received thanks to the support of L.-Z. Le-Lorraine and P. de Rotary. He mastered the basics of fine art in the rococo style. And in 1960 he was admitted to the Petersburg Academy of Arts under the order of the patron of arts II. Shuvalov. Five years later 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 path was interrupted in December 1808.

Creative heritage

Fedor Stepanovich Rokotov was a fine portraitist, deeply imbued with nature and distinguished diligent execution. By the beginning of the 60s, he was already respected as a master craftsman, as evidenced by the order for a portrait of Catherine 2. This was a real recognition of the painter's talent. After the first work written by Rokotov on the empress's accession to the throne, followed by the second - a half-length portrait of a great woman, to whom she was very pleased, describing it as "the most similar."

In addition to these masterpieces, Rokotov's brush also contains portraits of Peter III, Pavel Crown Prince, and the grandees of II. Shuvalov, Count Orlov, Count Struisky and his wife, as well as many other outstanding personalities of the Catherine's epoch.

The highest achievement in the field of ceremonial portraiture

In 1763, when the coronation ceremonies were held in honor of the entry of the Lady to the throne, a ceremonial portrait of Catherine II was painted. Rokotov was awarded such an honorable mission.

The image of the Empress was recreated by the artist very skillfully: a smooth, snow-white face, strong-willed look, confident gestures. A woman at the peak of her beauty, a real lady! She firmly squeezes the scepter in her hand, directing it towards the bust of Peter the Great, over which the inscription can be seen: "It's begun". The combination of the silver palette of the outfit and the noble red shade of the curtains emphasizes the special significance of the figure, artfully depicted on the canvas.

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

In the image of a priestess

Dmitry Grigorievich Levitsky portrait of Catherine II created using symbols of justice and justice. Her Imperial Majesty appears in the image of a legislator, a priestess who is in the temple of the goddess Themis. The Lady on the altar burns poppies as a token of sacrifice for her own peace for the common good. On her head instead of the imperial crown is a laurel crown. The figure of the empress is decorated with robes with the Order of St. Andrew, the ribbon and cross of St. Vladimir, which is evidence of her special merits before the Fatherland. Levitsky's portrait of Catherine II was complemented by the arches of the laws at her feet and the eagle seated on them - symbols of strength and security. Against the backdrop of a noticeable merchant fleet - a herald of prosperity of the state.

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

Imprints of Sentimentalism

Wishing to present the Grand Duchess in a more sentimental manner, with the accentuated natural simplicity, resting in the bosom of nature, the famous artist Vladimir Borovikovsky portrays Catherine II's portrait in two versions. One - against the background of the Chesme Column, the second - against the background of the Cahul Obelisk.

This work was written not from nature, in the Empress's clothes the author posed for her Frau chambers, but the artist and so often could watch Catherine during a walk. She did not come to the delight of the results of the Borovikovsky's works, because the portrait depicted an elderly woman, walking with a staff at the Tsarskoye Selo Park in an emphatically unofficial robe. Here the ruler is no longer a goddess, but an ordinary landowner, without pathos and parade attributes.

But still the picturesque works not only of Fedor Rokotov and Dmitry Levitsky, but also of Vladimir Borovikovsky are universally recognized masterpieces that best characterize the personality of the lady of the Russian throne.