Vladimir Borovikovsky, Portrait of Maria Lopukhina 01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #34

Vladimir Borovikovsky,  (1757–1825)

Portrait of Maria Lopukhina, (1777-1805), c. 1797

Oil on canvas

72 × 53.5 cm (28.3 × 21 in)

Tretyakov Gallery

Princess Anna Petrovna Lopukhina (Russian: 8 November 1777 – 25 April 1805) was a royal mistress to Emperor Paul of Russia. In 1798, She replaced Catherine Nelidova as the chief mistress. She was the daughter of Pyotr Vasilyevich Lopukhin, from the Lopukhin family, one of the oldest families of Russian nobility, which owed its distinction to Eudoxia Lopukhina’s marriage to Peter the Great and of which the unfortunate Natalia Lopukhina was also a member.


Her life changed the day Paul cast an eye on her during a ball in 1796. Paul ordered her family to be brought to Saint Petersburg, the Empress ineffectually attempted to interfere and sent an angry letter to Lopukhina pressing her to stay at home. The letter was intercepted and presented to the emperor in the most unfavourable light, thus sparking a quarrel between the spouses and ensuring Lopukhina’s ascendance at court.


Anna was showered with awards, including the Order of Saint John. Lopukhina’s influence on the tsar’s irascible character is reckoned to have been beneficial, although the Emperor’s constant attention seemed to importune her so much that in 1799 she asked his permission to marry a childhood friend, Prince Pavel Gagarin. After the sovereign acquiesced, Gagarin was recalled from Alexander Suvorov’s army then fighting in Italy and the wedding took place on 11 January 1800. The marriage was also to protect her from public spite.

A year later, the Emperor was murdered and the Gagarins proceeded to Turin. Theirs was a marriage of convenience, and he seems to have had little reason for grief when she died of consumption in 1805 at the age of 28. Anna’s body was brought back to the Russian capital, where her tomb may be seen in the St Lazarus Church of the Alexander Nevsky Lavra. More on Princess Anna Petrovna Lopukhina

Vladimir Borovikovsky, (1757–1825) was a Russian painter of Ukrainian origin who dominated portraiture in Russia at the turn of the 19th century. Borovikovsky was born on July 24, 1757. His father, Luka Borovyk was a Ukrainian Cossack and an amateur icon painter. According to the family tradition, all four of Borovyk’s sons served in Myrhorod regiment, but Volodymyr retired early at the rank of poruchik and devoted his life to art — mostly icon painting for local churches.

His friend Vasyl Kapnist was preparing an accommodation for Empress Catherine II in Kremenchuk during her travel to newly conquered Crimea. Kapnist asked Borovikovsky to paint two allegoric paintings (Peter I of Russia and Catherine II as peasants sowing seeds and Catherine II as a Minerva) for her rooms. The paintings so pleased the Empress that she requested that the painter move to Saint Petersburg.

For his first ten years in Saint Petersburg, he lived in the house of the poet, architect, musician and art theorist, Prince Nikolay Lvov, whose ideas strongly influenced Borovikovsky’s art. At the age of 30 years, he was too old to attend Imperial Academy of Arts, so he took private lessons from Dmitry Levitzky and later from Austrian painter Johann Baptist Lampi.

In 1795 he was appointed an academician. He became a popular portrait painter and created about 500 portraits during his lifetime, 400 of which survived to the 21st century. More on Vladimir Borovikovsky

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Vladimir Borovikovsky, (1757–1825), Portrait of Elena Aleksandrovna Naryshkina (1785-1855), c. 1799 01 Paintings, PORTRAIT OF A LADY, of the 18th & 19th C., with Footnotes. #33

Vladimir Borovikovsky, (1757–1825)

Portrait of Elena Aleksandrovna Naryshkina (1785-1855), c. 1799

Oil on canvas

72.8 × 59.6 cm (28.6 × 23.4 in)

Tretyakov Gallery

Elena Aleksandrovna Naryshkina, Serene Princess of Italy, Countess Suvorov-Rymniksky (1785 -1855 ) was a Russian noblewoman and maid of honour. Her portrait is one of the best female portraits painted by Borovikovsky at the end of the 18th century. More on Elena Aleksandrovna Naryshkina, 

Vladimir Borovikovsky, (1757–1825) was a Russian painter of Ukrainian origin who dominated portraiture in Russia at the turn of the 19th century. Borovikovsky was born on July 24, 1757. His father, Luka Borovyk was a Ukrainian Cossack and an amateur icon painter. According to the family tradition, all four of Borovyk’s sons served in Myrhorod regiment, but Volodymyr retired early at the rank of poruchik and devoted his life to art — mostly icon painting for local churches.

His friend Vasyl Kapnist was preparing an accommodation for Empress Catherine II in Kremenchuk during her travel to newly conquered Crimea. Kapnist asked Borovikovsky to paint two allegoric paintings (Peter I of Russia and Catherine II as peasants sowing seeds and Catherine II as a Minerva) for her rooms. The paintings so pleased the Empress that she requested that the painter move to Saint Petersburg.

For his first ten years in Saint Petersburg, he lived in the house of the poet, architect, musician and art theorist, Prince Nikolay Lvov, whose ideas strongly influenced Borovikovsky’s art. At the age of 30 years, he was too old to attend Imperial Academy of Arts, so he took private lessons from Dmitry Levitzky and later from Austrian painter Johann Baptist Lampi.

In 1795 he was appointed an academician. He became a popular portrait painter and created about 500 portraits during his lifetime, 400 of which survived to the 21st century. More on Vladimir Borovikovsky

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01 Paintings, PORTRAIT OF A LADY, from the 18th & 19th C., with Footnotes. #3a

Gustav Klimt

Dame mit Muff (Lady with a Muff), c. 1916

Oil on canvas

Private Collection

Dame mit Muff. Belonging to the group of late portraits Klimt shows a lady cuddled in her muff- a sophisticated fashion accessory. The background is covered with Asiatic motifs as in most of his lady portraits of 1916. More

Klimt painted portraits of contemporary women with a mysterious, dreamy expression, but also with energy and a lust for life. The painting Lady with a Muff dating from 1916–1917 is one such portrait. The coquettish way in which she obscures part of her face with the fur evokes Klimt’s earlier 1909 work Woman with Hat and Feather Boa (Österreichische Galerie Belvedere, Vienna). 

Last displayed in Viennain 1926, Lady with a Muff (1916–1917) has long been thought lost. Nevertheless, the list of Klimt’s paintings by F. Novotný and J. Dobai (Vienna 1967) and later sources refer to it as “in a private collection”. The private collector purchased Lady with a Muff in the late 1920s or early 1930s, and the National Gallery in Prague may once again present the painting to the public courtesy of its current owner. More on this painting

Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d’art. Klimt’s primary subject was the female body, and his works are marked by a frank eroticism. In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.

Early in his artistic career, he was a successful painter of architectural decorations in a conventional manner. As he developed a more personal style, his work was the subject of controversy that culminated when the paintings he completed around 1900 for the ceiling of the Great Hall of the University of Vienna were criticized as pornographic. He subsequently accepted no more public commissions, but achieved a new success with the paintings of his “golden phase,” many of which include gold leaf. More Gustav Klimt

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01 Paintings, PORTRAIT OF A LADY, from the 18th & 19th C., with Footnotes. #3d

Gustav Klimt

Portrait Of A Lady In White (Unfinished), c. 1917-1918

Oil on canvas

70 x 70 cm

The Österreichische Galerie Belvedere, Vienna, Austria

Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of the most prominent members of the Vienna Secession movement. Klimt is noted for his paintings, murals, sketches, and other objets d’art. Klimt’s primary subject was the female body, and his works are marked by a frank eroticism. In addition to his figurative works, which include allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt was the most influenced by Japanese art and its methods.

Early in his artistic career, he was a successful painter of architectural decorations in a conventional manner. As he developed a more personal style, his work was the subject of controversy that culminated when the paintings he completed around 1900 for the ceiling of the Great Hall of the University of Vienna were criticized as pornographic. He subsequently accepted no more public commissions, but achieved a new success with the paintings of his “golden phase,” many of which include gold leaf. More on Gustav Klimt

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01 Paintings, PORTRAIT OF A LADY, from the 18th & 19th C., with Footnotes. #3c

William Chadwick, American, 1879-1962 

Seated Woman in a Kimono 

Oil on canvas 

30 x 24 inches 

Private Collection

The passion for Japanisme that swept through American art in the 1890s is exemplified in Seated Woman in Kimono. Taking an approach inspired by Whistlerian aestheticism, Chadwick offset the broad sweep of his subject’s flowered garment against the compact geometry of her space, creating as much a decorative conception as a rendering of his subject. Chadwick’s Impressionist brush handling serves to suppress individual detail, adding to the overall harmony of the image. More on this painting

William Chadwick, American, 1879-1962 was born in Yorkshire, England in 1879. However, in 1882, his father, a wool manufacturer, relocated the family to Massachusetts. Chadwick displayed an early aptitude for art, and after graduating from high school he moved to New York to pursue an artistic career. 

In the summer of 1902, Chadwick made his first visit to the Old Lyme Art Colony located on the coast of Connecticut. Due to its proximity to New York, the village of Old Lyme became a favorite retreat for American artists, including the well-known Impressionist, Childe Hassam. The colony soon became a gathering point for American Impressionists and a popular destination for landscape artists. Over the next seven years Chadwick divided his time between Old Lyme in the summer months and New York during the academic year where he served as the treasurer for the Art Students League. Following his marriage, Chadwick bought a home near the shore in Old Lyme which became his permanent residence in 1915.

From 1924-1926, Chadwick taught at the Telfair Academy in Savannah, Georgia and resided in the city during the school terms. By the time Chadwick was teaching in Savannah, he was working in a distinctive Impressionist style with an emphasis on the effects of light. Chadwick was one of several northern artists that spent time in Savannah between the late twenties and early forties, and the city welcomed this artistic flowering.In 1927, the Telfair Academy honored Chadwick by hosting the first, and only, solo exhibition of his career. More on William Chadwick

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01 Paintings, PORTRAIT OF A LADY, from the 18th & 19th C., with Footnotes. #3b

Reginald Marsh,  1898 – 1954

WALKING WOMAN, 1953

Oil on canvasboard 

17 3/4 by 13 5/8 inches, (45.1 by 35.6 cm)

Private Collection

Reginald Marsh (March 14, 1898 – July 3, 1954) was an American painter, born in Paris, most notable for his depictions of life in New York City in the 1920s and 1930s. Crowded Coney Island beach scenes, popular entertainments such as vaudeville and burlesque, women, and jobless men on the Bowery are subjects that reappear throughout his work. He painted in egg tempera and in oils, and produced many watercolors, ink and ink wash drawings, and prints. More

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09 Paintings, PORTRAIT OF A LADY, from the 18th & 19th C., with Footnotes. #3a

Master John (floruit 1544-1545)

Portrait of Queen Mary I (1516-1558)

“Bloody Mary”

Oil on panel

711 × 508 cm (279.9 × 200 in)

National Portrait Gallery, London, UK

Mary I (18 February 1516 – 17 November 1558) was the Queen of England and Ireland from July 1553 until her death. Her executions of Protestants led to the posthumous sobriquet “Bloody Mary”.

She was the only child of Henry VIII and his first wife Catherine of Aragon to survive to adulthood. Her younger half-brother Edward VI (son of Henry and Jane Seymour) succeeded their father in 1547.

When Edward became mortally ill in 1553, he attempted to remove Mary from the line of succession because of religious differences. On his death their first cousin once removed, Lady Jane Grey, was proclaimed queen. Mary assembled a force in East Anglia and deposed Jane, who was ultimately beheaded. Mary was—excluding the disputed reigns of Jane and the Empress Matilda—the first queen regnant of England. In 1554, Mary married Philip of Spain, becoming queen consort of Habsburg Spain on his accession in 1556.

Mary is remembered for her restoration of Roman Catholicism after her half-brother’s short-lived Protestant reign. During her five-year reign, she had over 280 religious dissenters burned at the stake in the Marian persecutions. After her death in 1558, her re-establishment of Roman Catholicism was reversed by her younger half-sister and successor Elizabeth I, daughter of Henry and Anne Boleyn.

Master John was an English Tudor court painter (active 1544/45). More

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