Reformation, foreign policy and military activity, which significantly strengthened the Russian state, characterizes the empress as a legislator and enlightener, a visionary strategist, a wise politician and diplomat. It was not for nothing that contemporaries during their lifetime titled her the Great. She really is considered an outstanding statesman, despite the criticism of researchers about her moral qualities and a tough position in the promotion of serfdom.
In the eyes of the largest masters of fine art, 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, she was a purebred German by birth, 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 of Peter III. Two years later, she converted to Orthodoxy and was married to the future emperor.
Even in her youth, Catherine was distinguished by a sharp mind, cunning and observation, easily manipulated others in order to achieve her goal. She was happy to study sciences, read a lot and independently mastered the Russian and French languages. All this knowledge in the near future was useful to her as a source of successful government. So the
historical portrait of Catherine 2 began to take shape, the main features of which were the strong-willed core, courage, vanity, pride and cunning. She had two important talents - to turn off her own emotions in favor of rationalism and to easily win universal sympathy.
Thus, Catherine quietly and confidently advanced to the imperial throne, having made a coup six months after the proclamation of Peter III as emperor and finally overthrowing her husband.
The Golden Age of the Catherine Era
Having embarked on the reign, the mistress adopted the state system in utter ruin, which spurred her to develop a new code of laws. The basis of the "golden age" of the reign of Catherine 2 clearly shows the following:
1. The policy of "enlightened absolutism" and reform:
privileges for nobles, strengthening their power;
tightening of the serf 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:
the victorious completion of two Russian-Turkish wars;
victory over the Swedes;
obtaining new lands (the modern territory of Crimea, Right-Bank Ukraine and Belarus) - 11 of the 50 provinces existing at that time were conquered during the reign of the empress;
strengthening the 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 cannot be brought under a specific stereotype: for some she is a wise ruler, for others she is a tyrant, but in the end, the significance of her figure for events in world history is undeniable.
Face of Catherine 2: traditions of the image
In the XVIII century, two distinct traditions of the image of the great empress in Russian art were determined.
The first concerns its idealization, emphasizing the best features and qualities. The portrait of Catherine 2 is considered in the context of the exaltation of a monarch who cares about his people, opens educational institutions, conducts reforms, develops art, cares for justice. This approach was reflected in the picturesque masterpieces of Fedor Rokotov and Dmitry Levitsky.
The second tradition is the desire to “humanize” the image of the empress, which permeates the portrait of Catherine 2 with more sensual colors. Modesty, courtesy, friendliness, condescension to other people's flaws, a sense of duty, generosity come to the fore. All this is easily seen in the works of the artist Vladimir Borovikovsky.
Fedor Stepanovich Rokotov: life path
The famous Russian artist was born in the village of Vorontsovo. Initially educated thanks to the support of L.-J. Le Lorren 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. Shuvalova. 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 creating new paintings. His life path was interrupted in December 1808.
Creative heritage
Fyodor Stepanovich Rokotov was an excellent portrait painter, deeply imbued with nature and distinguished himself by diligent execution. By the beginning of the 60s, he was already respected as a skilled craftsman, evidence of this was an order for a portrait of Catherine 2. This was a real recognition of the talent of the painter. After the first work, written by Rokotov regarding the accession of the empress to the throne, the second followed - a half-length portrait of the great woman, whom she was very pleased with, describing him as "the most similar."
In addition to these masterpieces, Rokotov’s brushes include portraits of Peter III, Tsarevich Pavel, and nobleman I.I. Shuvalov, Count Orlov, Count Struysky and his wife, as well as many other outstanding personalities of the Catherine era.
Top achievement in the field of ceremonial portraiture
In 1763, when the coronation celebrations took place in honor of the accession of the mistress to the throne, a ceremonial portrait of Catherine 2 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, a strong-willed look, confident gestures. A woman at the peak of her beauty, a real mistress! She firmly squeezes the scepter in her hand, directing it towards the bust of Peter I, over which you see the inscription: "The work accomplishes." The combination of a silver palette of the outfit and a noble red shade of the curtains emphasizes the special significance of the figure, skillfully depicted on canvas.
Rokotov created the second portrait of Catherine 2, using the profile style, which is a rare enough thing to write a ceremonial portrait. But this gave the ruler an ideal character. Noble features, proud posture, some dynamism in gestures plus attributes of power and rich drapery - the desired effect is achieved.
In the image of a priestess
Dmitry Grigorievich Levitsky portrait of Catherine 2 created using symbols of justice and justice. 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 sacrifice of 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 mantles with the order of St. Andrew, the ribbon and the cross of St. Vladimir, which is evidence of her special merits to the Fatherland. The Levitsky portrait of Catherine 2 was supplemented by codes of laws at her feet and an eagle sitting on them - symbols of strength and security. In the background, the merchant fleet is visible - a messenger of the state's prosperity.
Even the verbal description of the portrait of Catherine 2 illustrates her as an ideal ruler, vigilantly taking care of her country.
Imprint of sentimentalism
Wishing to present the Grand Duchess in a more sentimental way, with emphasized natural simplicity, resting in the lap of nature, the famous artist Vladimir Borovikovsky created a portrait of Catherine 2 in two versions. One - against the background of the Chesme column, the second - against the background of the Cahul obelisk.
This work was not written from nature, in the empress's clothes the camera-frau posed for the author, but the artist could so often observe Catherine during a walk. She was not delighted with the results of Borovikovsky’s works, because the portrait depicted an elderly woman walking with a staff in Tsarskoye Selo park in an emphasis on informal attire. Here the ruler is no longer represented by the goddess, but by the ordinary landowner, without pathos and parade paraphernalia.
Nevertheless, the paintings of not only
Fedor Rokotov and Dmitry Levitsky, but also Vladimir Borovikovsky are universally recognized masterpieces that best characterize the personality of the mistress of the Russian throne.