
Ekaterina Khruschova and Ekaterina Khovanskaya
Dmitry Levitzky·1773
Historical Context
Ekaterina Khruschova and Ekaterina Khovanskaya, painted in 1773, is one of the six double-figure paintings Levitzky executed for the Smolny Institute for Noble Girls, the school founded by Catherine II for the daughters of the Russian aristocracy. The series, which depicts the students performing theatrical performances, dancing, and engaging in musical activities, is Levitzky's most celebrated achievement — it transformed Russian portraiture by introducing genre elements, theatrical costume, and movement into what had previously been a predominantly static format. The two Ekaterinas are shown in a dancing or theatrical pose that simultaneously demonstrates their Smolny education and functions as a visual celebration of Catherine II's civilizing project. The series as a whole is held at the Russian Museum and ranks among the finest achievements of eighteenth-century portraiture anywhere in Europe — a judgment that Russian art historians have emphasized and that Western scholarship has been slow to second.
Technical Analysis
Oil on canvas in a larger format than typical portrait work, accommodating the two-figure composition and the theatrical costumes with their elaborate textures. Levitzky deploys his full technical range across the canvas: delicate face modeling, confident silk rendering, and the energetic brushwork needed to capture the implied movement of dancers.
Look Closer
- ◆The two figures are arranged in a choreographic relationship — their bodies turned toward each other or away in a pose that implies the movement of performance rather than the stasis of a posed sitting
- ◆Theatrical costume is rendered with careful differentiation of its specific materials: the sheen of silk, the opacity of matte fabric, the shimmer of decorative trim
- ◆Both faces retain individual character despite being shown in a context that subordinates individuality to the collective display of aristocratic accomplishment
- ◆The floor space beneath the figures is treated with enough paint to suggest the theatrical stage, locating the subjects in a specific cultural space

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