The catalogue — portraits in chronological order, each with a commentary.
230 works by the painter and workshop · 11 copies and works after · 35,602 words of commentary · Part 5 of 7 · 1794–1800
The Head of a Maenad — Pelagia Sapieha, née Potocka (private collection): a small head of the Polish princess (1775–1846) as a Maenad with vine-leaves, painted in Vienna — the study for the Warsaw full-length of the same year; the Sapiehas were of the Vienna Polish colony.
Grand Duchess Elizabeth Alexeievna (Musée Fabre, Montpellier): the future Empress (1779–1826), at sixteen, in a white dress with a shawl — a version of the Hermitage full-length's head, which the painter made for herself and which the Souvenirs describe: 'an angel's face'; Montpellier's second Vigée Le Brun.
Documented work · 1 language edition Q21740520
Oil on canvas, 90.5 × 73 cm — State Hermitage Museum, Saint Petersburg. Countess Anna Sergeevna Stroganova, née Trubetskaya (1765–1824), seated in a white dress with a red shawl, her small son Sergei in a white frock on her knee, against a dark ground: one of the first Russian commissions, painted in Petersburg in 1795, and the Stroganov family's introduction of the painter to the Russian court.
The Stroganovs — Count Alexander, the president of the Academy of Arts and the richest collector in Russia, his son Pavel (whom the painter had painted as a boy in Paris in 1790 — the Hermitage's small portrait is in this catalogue) and Pavel's cousin Grigory, the Baron — were the painter's first Petersburg patrons, and the Souvenirs describe Count Alexander's palace on the Nevsky, his gallery and his kindness. Anna Stroganova was Grigory's wife; the son on her knee, Sergei, became a general and the founder of the Stroganov school of drawing in Moscow.
The composition is the Madame Rousseau's — the mother seated, the child on the knee — in the Russian manner's richer dress: the red shawl, the white, the dark ground; the child's face is the painter's tenderness, the mother's the manner's direct address. The Russian portraits' characteristic is their scale and their colour — the shawls are larger, the reds deeper — and this early one is at the transition.
The Stroganov family; nationalised in 1917 from the Stroganov palace to the Hermitage; one of the museum's eight.
The Hermitage's Vigée Le Brun room — the largest single holding of her Russian portraits — sets the Stroganova beside the Kurakin and the Chernyshev, and the visitor who has seen the Louvre's Paris pictures finds the manner transposed: the same embrace, the same turn, in a colder light and a warmer shawl.
The child's hand; the red shawl; the mother's eyes; the white dress. Then the small Pavel Stroganov of 1790, for the family's boy in Paris.
Count Alexander Stroganov's role in the painter's Petersburg years was what Vaudreuil's had been in Paris: the introduction, the first commissions, the palace where she was received. The Souvenirs describe his gallery — 'the finest collection of pictures in Petersburg' — and his dinners, and the Stroganov portraits (Pavel in 1790, Anna and her son in 1795, Baron Grigory in 1793, Sophia in 1795) are the family's record of the friendship; the Hermitage holds most of them by nationalisation, and the room in which they hang is, in effect, the Stroganov palace's picture cabinet relocated. The painter's prices in Petersburg — 3,000 roubles for a full-length, she says, and proportionately for a half-length of this kind — were fixed in the Stroganov negotiations, and the Stroganovs paid first.
The Hermitage's canvas is among the better preserved of its Vigée Le Bruns; the child's white frock and the mother's red shawl keep their colour, and the dark ground, which in some of the Russian pictures has sunk, is here still transparent.
Grand Duchess Elizabeth Alexeievna (Hermitage): the full-length of the Grand Duke Alexander's sixteen-year-old wife, in a white dress with a shawl, against a garden — the imperial commission of the first Petersburg year, and the picture the painter most admired of her Russian royal portraits; the Hermitage's largest Vigée Le Brun.
Princess Juliane of Saxe-Coburg-Saalfeld (private collection): the German princess (1781–1860), at fourteen, just married to the Grand Duke Constantine — the future Grand Duchess Anna Feodorovna, whose marriage was a disaster and who fled Russia in 1801; painted in the first Petersburg winter for the imperial family.
Sophia Vladimirovna Stroganova, née Golitsyna (Pushkin Museum): the wife of Count Pavel Stroganov (1775–1845), at twenty, in a white dress with a red shawl — the fourth of the Stroganov portraits; the Pushkin's, from the Stroganov palace.
Portrait of a Lady (National Museum, Warsaw): a small oval head, 16 cm, of an unidentified woman — a miniature-scale oil of the kind the painter made as gifts; the Warsaw museum's smallest.
Princess Ekaterina Nikolaevna Menshikova (National Gallery of Armenia, Yerevan): a young princess in a white dress with a red shawl and a turban, seated — a Petersburg portrait that reached Yerevan with the Soviet redistributions of the 1920s; Armenia's one Vigée Le Brun.
Empress Elizabeth Alexeievna (Schloss Wolfsgarten, Hesse): a version of the Grand Duchess's portrait sent to her family — she was born Louise of Baden, and the Hessian connection is through the Baden-Darmstadt marriages; Wolfsgarten holds it with the Queen en gaulle.
Countess Anna Ivanovna Tolstaya (National Gallery of Canada, Ottawa): the second version of the Tolstaya — the countess in the red shawl and turban — Ottawa's Vigée Le Brun, lent to the 2016 retrospective that ended in that city.
Countess Ekaterina Vladimirovna Apraxina, née Golitsyna (private collection): a young countess (1770–1854) in a white dress with a turban — of the Golitsyn-Apraxin clan that sat to the painter in numbers.
Documented work · 4 language editions Q19005202 Wikipedia
Oil on canvas, 80 × 66 cm, signed and dated 1796 — Musée du Louvre, Paris. The Countess Skavronskaia six years after the Naples picture, in Petersburg: half-length, in a white dress with a turban and a shawl, a hand at her cheek, the eyes half-closed as before, against a dark ground: the same languor, an older face, and the second of the painter's two portraits of the sitter she 'never tired of looking at'.
The Naples portrait of 1790 (Jacquemart-André, in this catalogue) showed the Countess reclining on her sofa with Vesuvius and a miniature of her husband; the Petersburg picture of 1796 shows her seated, half-length, in the turban of the 1790s, with the same hand at the cheek and the same half-closed eyes — the pose repeated deliberately, as if the painter had wanted to record the same woman in two cities. The husband had died in 1793; the Countess was now a widow of thirty-five with her uncle Potemkin's fortune; she would marry the Neapolitan Count Litta in 1798. The face is fuller and sadder; the eyes are the same.
The Louvre's canvas is smaller and simpler than the Naples one — no sofa, no volcano, no shawl's stripes — and its colour is the Russian manner's: the white, the turban's gold, a red at the shawl, the dark ground. The hand at the cheek is painted with the painter's care for hands, which she thought the most difficult thing in portraiture; the face is modelled with the softness of the Naples picture and less of its light.
The Skavronsky–Litta family; the Russian emigration; the Paris market; the Louvre by purchase in the twentieth century (1928, from the Litta heirs); one of the Louvre's six and the only Russian portrait among them.
The Louvre and the Jacquemart-André are a walk apart, and the two Skavronskaias should be seen in one afternoon: the Naples picture first, for the woman at her laziest and happiest; the Petersburg picture second, for the same woman six years on. The Souvenirs' page on her is the link.
The hand at the cheek; the half-closed eyes; the turban; the shawl's red; the face against the 1790 face.
The painter's habit of repeating a pose for the same sitter years apart is rare in her work and deliberate here: the Souvenirs' long description of the Countess's languor was written from the two pictures as much as from memory, and the pictures are the memoir's evidence. A viewer who knows the Naples picture sees in the Louvre one the same woman, older, posed by the same hand in the same attitude — which is what the painter wanted seen. The picture's condition is good; the Louvre acquired it in 1928 from the Litta heirs, who had carried it out of Russia in the emigration, and the provenance is among the few in the catalogue that run unbroken from the sitter to the museum.
Elizabeth Alexeievna in a Red Dress (Arkhangelskoye Estate Museum): the Grand Duchess in the red dress the Souvenirs describe — 'a dress of red velvet that suited her wonderfully' — a version of the imperial portraits kept at the Yusupovs' Arkhangelskoye near Moscow.
Ivan Ivanovich Shuvalov (1727–1797) (North Carolina Museum of Art, Raleigh): the Empress Elizabeth's favourite, the founder of Moscow University and of the Petersburg Academy of Arts, at sixty-nine, in a fur-lined coat with orders — the old Francophile who had known Voltaire, painted a year before his death; the Souvenirs describe his 'grand manner and his perfect French'.
Elżbieta Mniszech (born 1792) (National Museum, Kraków): a small girl of four, the daughter of the Polish magnate Michał Mniszech — a child's head painted in Petersburg, where the Mniszechs wintered; Kraków's second Vigée Le Brun, and the 1797 Isabella Mniszech is in this catalogue.
The Daughters of Emperor Paul I — Grand Duchesses Alexandra and Elena (Hermitage): the double portrait of Catherine II's granddaughters, thirteen and twelve, in white tunics à la grecque with bare arms, holding a miniature of their grandmother — the commission that displeased the Empress ('the arms!'), after which the painter added sleeves; the Souvenirs record the episode at length, and the Hermitage's canvas shows the compromise.
Anna Ivanovna Tolstaya, née Baryatinskaya (private collection): the Countess Tolstaya (1774–1825), at twenty-two, in a white dress with a red shawl and a turban, seated against a dark ground — the prime version of the Ottawa picture in this catalogue; the sitter was the painter's friend and the wife of Count Nikolai Tolstoy, the court marshal.
Julie Le Brun Playing the Guitar (Zoubov Foundation, Geneva): the daughter at seventeen, in a white dress with a red shawl, playing a guitar — the last of the Julie pictures before the quarrel, painted in Petersburg; the Geneva foundation's Russian-émigré collection holds it.
Princess Natalia Ivanovna Kurakina, née Golovina (Utah Museum of Fine Arts, Salt Lake City): the wife of Prince Alexei Kurakin, Alexander's brother — the Golovina's sister-in-law — in a white dress with a shawl, playing a guitar; the painter's Souvenirs say she 'sang charmingly'; the first of Utah's two.
Documented work · 1 language edition Q67185140 Wikipedia
Oil on canvas, 83.5 × 67 cm — Barber Institute of Fine Arts, Birmingham. Countess Varvara Nikolaevna Golovina, née Golitsyna (1766–1819), half-length, wrapped in a red shawl that she holds closed with one hand, her dark hair loose and falling over her shoulder, against a dark ground, her face turned to the viewer with an expression of intent seriousness: the most 'Romantic' picture the painter made, and for many the finest of the Russian portraits.
Varvara Golovina — a lady-in-waiting to Catherine II, the confidante of the Grand Duchess Elizabeth Alexeievna (the future Empress), a memoirist whose own Souvenirs of the court are a source for the period, an amateur painter who took lessons from Vigée Le Brun, and a friend: the painter's Souvenirs describe her as 'a woman of wit and talent' who 'drew charmingly', and the two were intimates in Petersburg. Golovina's memoirs mention the painter with equal warmth. She emigrated to Paris in 1817 and died there; the friendship lasted.
Nothing in it is the manner's formula except the address: the shawl — a great red cashmere — is pulled round the body and held closed, the hair is loose and dark, the dress is invisible, the ground is dark, and the face, lit from the left, is serious. The picture has been compared to the Romantic portraits of the 1820s — to Delacroix's women, to the Goya of the Majas — and it anticipates them; the painter's own account says only that she painted the Countess 'in a shawl, which suited her'. It is the manner's intimacy with the smile removed.
The Golovin family; Russian collections; the emigration; bought by the Barber Institute in 1950s Birmingham — the university museum founded by Lady Barber, whose purchases under Thomas Bodkin were among the shrewdest of the post-war British market; the Barber since. It is the painter's best-known picture in Britain after the Straw Hat and the Hamilton.
The Barber hangs it in its eighteenth-century room, where it stops visitors who expect a pretty picture and find a serious one; the shawl's red is the room's strongest colour. It was lent to the 2015 retrospective, where it was the Russian room's revelation.
The hand holding the shawl; the hair over the shoulder; the eyes; the shawl's red against the dark. Then the absence — no smile, no hat, no flower.
The Golovina has become, since the 1950s, the picture by which the painter's modern reputation has been argued upward: the critics who found the Paris portraits merely charming have pointed to it as proof of a painter capable of gravity, and the Romantic comparison has been made so often that it is a commonplace. The painter's own words — 'a shawl, which suited her' — are the better guide: she painted what suited the sitter, and this sitter was a serious woman. The Barber's picture is signed at the right; the date is not given and the catalogue's c. 1797–1800 rests on the sitter's presence at court and on the style, which is the late Petersburg manner at its most sober.
Isabella Mniszech, née Czartoryska (Academy of Fine Arts and Design, Bratislava): Elżbieta's mother, the Countess Mniszech (1736–1816), in a dark dress with a cap — the Polish magnate's wife in Petersburg; the Bratislava academy's picture is Slovakia's one Vigée Le Brun.
Prince Alexander Kurakin (Hermitage): the 'diamond prince' (1752–1818), Paul I's vice-chancellor and the most bejewelled man in Russia, in a white coat with the orders and the diamonds the Souvenirs describe — 'he wore them on his clothes, his buttons, his shoes'; the Hermitage's most opulent Vigée Le Brun, and the painter's friend in Petersburg.
Princess Anna Alexandrovna Galitzin (Baltimore Museum of Art): a Golitsyn princess (1774–1838) in a white dress with a red shawl, seated against a column — Baltimore's Vigée Le Brun, from the Jacobs collection; one of the seven Golitsyns in the catalogue.
Documented work · 1 language edition Q104745256
Oil on canvas, 152.8 × 82 cm — National Museum, Kraków. The last King of Poland, full-length, in the black doublet, ruff and short cloak of Henri IV's France, with the order of the White Eagle, a hand on a sword, in a palace interior: the grandest of the painter's three Poniatowskis, painted in Petersburg in 1797 at the king's own wish, and recorded on Wikidata with a date of 1823 that belongs to a later inscription or a copy.
The Souvenirs explain the costume: the king, 'who admired Henri IV above all princes', 'wished to be painted in his costume', and the painter, who had seen the portraits of Henri IV at the Louvre, dressed him in the black and the ruff of the 1590s. The choice was a statement: Henri IV, the king who reconciled a divided nation and was loved by his people, was the model Stanisław August had wished to be and the partitions had denied him; to be painted as Henri IV in 1797, deposed and pensioned in Petersburg, was the last act of a long self-fashioning. The painter says the king 'was pleased with himself in this costume'.
The full-length is the painter's state portrait at its most theatrical: the black doublet against the interior's red, the ruff's white, the cloak's fall, the sword; the face is the king's at sixty-five, grave and a little amused. The composition is that of the Clouet-school Henri IV portraits the king knew; the handling is the painter's broad manner for costume and careful manner for the face.
The king's estate; his heirs the Poniatowskis; Polish collections; the National Museum in Kraków, where it is the most important of the museum's three portraits of the last king. The 1823 date on Wikidata may derive from a copy made for the Poniatowski family or from an inscription added at the picture's entry into a Polish collection; the painter's list and the Souvenirs place the original in 1797.
Kraków hangs it in its gallery of Polish history, where the king in a French king's costume is an emblem of the Polish Enlightenment's Francophilia; the picture is also, for the painter's admirers, the fullest statement of her friendship with the sitter.
The ruff; the doublet; the White Eagle; the hand on the sword; the face. Then the Versailles half-length, for the same man in fur.
The costume portrait of a monarch as a historical predecessor was a rare form, and the Kraków picture is among its few examples: Stanisław August, a reader of French history and a collector of Henri IV's relics, chose the dress of the king who had said that Paris was worth a mass and had been loved for it, and the painter's rendering of the costume — the ruff's pleats, the doublet's slashes, the cloak's fall — is exact to the prints of the 1590s. The picture's later history in Polish collections made it a patriotic image; in the museum's hanging it is the last king's last portrait and the most dignified.
Documented work · 1 language edition Q52241959
Oil on canvas, 93 × 78 cm — Palace of Versailles, Musée de l'Histoire de France. The last King of Poland, half-length, in a fur-lined coat with a red sash and the star of an order, a hand in the coat, against a dark ground: the simplest of the painter's three portraits of her friend, painted in Petersburg in 1797 and given, or sold, to the French royal collections in the Restoration.
The Souvenirs' pages on the king are among their warmest: he came to her studio 'almost every day', talked of Paris, where he had been young, and of Madame Geoffrin, whose salon had formed him; he 'had the kindness to sit to me three times'; and at his death she wrote that 'I lost in him a friend whose like I never found'. The portraits were made in the last year of a life that had been, by any measure, a tragedy — the king of a partitioned country, pensioned by the power that had partitioned it — and the painter's account insists on the grace with which he bore it.
The half-length in fur with the hand in the coat is the painter's male formula at its quietest; the face — the long nose, the heavy lids, the small mouth — is the face that Bacciarelli, the king's own painter, had painted for forty years, seen by a friend at the end. The red sash and the star are the rank's signs; the fur is the Petersburg winter's. The Versailles picture is the most widely reproduced of the three because the most accessible.
The painter's own, she says, kept 'in memory of him'; her estate; the French state's purchase for Versailles in the nineteenth century, where it hangs among the museum's foreign sovereigns.
Versailles's Musée de l'Histoire de France hangs it in a room of portraits of European royalty, where the king of a vanished country is among the monarchs who divided it — an irony the museum does not remark.
The face; the fur; the hand in the coat; the sash. Then the Souvenirs' account of his death, which the picture anticipates.
The three Poniatowskis — Versailles in fur, Kyiv with the emblem, Kraków in Henri IV's robes — make a small series of a man the painter loved, and they have never been shown together; the 2015 retrospective borrowed the Versailles one. The Kraków picture, the grandest, was the king's own idea — he wished to be painted in the costume of the French king he admired — and the Versailles one, the simplest, was the painter's.
The Versailles picture's room is the museum's gallery of foreign sovereigns, and the king hangs among the crowned heads of Europe with a face that is the only one among them painted by a friend; the painter's Souvenirs should be read before it. The picture is reproduced in every Polish history of the last king, usually without its painter's name.
Portrait of a Young Woman (Museum of Fine Arts, Boston): an unidentified Russian sitter in a white dress with a red shawl and a turban, half-length — the Petersburg manner's type at its purest; Boston's Vigée Le Brun, from the Forsyth Wickes collection.
Princess Tatiana Yusupova (Tokyo Fuji Art Museum): Tatiana Vasilievna Yusupova, née Engelhardt (1769–1841), Potemkin's niece and the Countess Skavronskaia's sister, seated in a white dress with a red shawl — the Yusupov palace's picture, which left Russia in the emigration and reached Japan; the second Tokyo Fuji Vigée Le Brun.
Documented work · 1 language edition Q12142551
Oil on canvas, 86.5 × 101.5 cm — Khanenko Museum, Kyiv. Stanisław August Poniatowski (1732–1798), the last King of Poland, in his final year, seated in a fur-lined coat with a masonic jewel on his breast, at a table with papers: one of the painter's three portraits of the deposed king in Petersburg, and the one with the emblem that makes it a document.
Stanisław August — the lover of the young Catherine, the elected King of Poland in 1764, the patron of the Polish Enlightenment, the king who saw his country partitioned three times and abdicated in 1795 — lived his last years in Petersburg as Paul I's pensioner, in the Marble Palace, and was the painter's friend: the Souvenirs give him a long and affectionate portrait — 'the most amiable man, and the most cultivated', whose conversation 'made one forget his misfortunes' — and describe his sittings in 1797 and his death in February 1798, at which she was one of the mourners. She painted him three times: in a fur coat (Versailles, in this catalogue), in the coronation robes of Henri IV (Kraków, in this catalogue), and this, with the masonic emblem.
The jewel on the king's breast is a masonic master's — the square and compass — and its presence in a royal portrait is unusual enough to have given the picture its title: Stanisław August was a Freemason, as were many of the Polish Enlightenment, and the emblem's display in 1797, in Paul I's Petersburg, where the lodges were suspect, was either the king's statement or the painter's record of a man who had nothing left to hide. The papers on the table are his memoirs, which he was writing.
The composition is the Calonne's — the seated man at a table with papers — in the Russian fur; the face is the king's at sixty-five, heavy, kind and tired; the handling is the painter's male manner, broad in the coat and careful in the face. The Khanenko version is the least known of the three and the most personal.
The king's estate; Polish and Russian collections; the Khanenko collection in Kyiv — the Ukrainian sugar magnate Bogdan Khanenko's Western pictures, given to the city in 1918; the museum since. Its survival through the twentieth century's wars and the present one is a matter of record.
Rarely possible now; the picture was shown in Kyiv in the museum's Western galleries and is in storage for the duration. The Versailles and Kraków versions are the accessible ones.
The jewel; the papers; the fur; the face. Then the Versailles version, for the same man without the emblem. The picture's title on Wikidata — 'with masonic emblem on his breast' — is the museum's, and the emblem's identification has been discussed in the Polish literature on the king's masonic career; he was the grand master of the Polish Grand Orient in the 1780s. The Khanenko picture is unsigned; the attribution rests on the painter's list and the museum's tradition.
Charles Chetwynd, 2nd Earl Talbot (1777–1849) (Ingestre Hall): the young English earl on his travels, at twenty-one, in a brown coat — one of the few English sitters in Petersburg; Ingestre, the Talbots' Staffordshire house, keeps it.
Maria Grigorievna Viazemskaya, Princess Golitsyna (1772–1865) (private collection): a Golitsyn princess by marriage in a white dress with a red shawl, seated on a sofa — a Petersburg portrait of the Golitsyn series; the sitter lived to ninety-three.
Pelagia Sapieha, née Potocka (Château de Montrésor): the second full-length of the princess as a lyre-player — the 1794 Warsaw composition repeated in Petersburg; the Montrésor château in Touraine, the Branicki-Potocki family's French seat, holds it among the family's Polish treasures.
Empress Elizabeth Alexeievna (Hermitage): the young Grand Duchess three years after the full-length, half-length in a white dress with a shawl — the painter's second portrait of the 'angel', now nineteen, for the imperial apartments.
Documented work · 1 language edition Q73295245 Wikipedia (fr)
Oil on canvas, 78.7 × 66.6 cm, signed and dated 1798 — National Museum of Women in the Arts, Washington. Princess Anna Grigorievna Belosselskaya-Belozerskaya, née Kozitskaya (1767–1846), half-length, in a white dress with a red shawl and a red turban, her hand at the shawl, against a dark ground: a Petersburg portrait of 1798 and the National Museum of Women in the Arts' principal Vigée Le Brun.
The Princess was the second wife of Prince Alexander Belosselsky-Belozersky, the diplomat, writer and collector — the friend of the French philosophes, the owner of one of Petersburg's great houses — and the heiress of the Kozitsky and Myasnikov mining fortunes; the painter's list records her among the 1798 portraits, and the Souvenirs mention the prince's palace on the Nevsky and his 'French spirit'. The Belosselsky–Belozersky palace is still the city's pinkest building.
The red turban and shawl against the white and the dark are the Russian manner's colour at its strongest; the hand at the shawl is the Golovina's gesture softened; the face is the manner's — the turn, the glance, the parted lips — in a sitter of thirty-one whom the painter evidently found handsome. The turban, which the painter had worn in her Uffizi self-portrait, was the fashion she brought to Petersburg, and the Russian portraits of 1796–1800 are full of it.
The Belosselsky family; the emigration; the American market; the National Museum of Women in the Arts, founded by Wilhelmina Holladay in Washington in 1987 with a collection that made Vigée Le Brun its eighteenth-century centrepiece; the museum since, with the Portrait of a Young Boy and the Madame Augier also in this catalogue.
The NMWA's hanging is a context in itself: the painter among women painters, with Labille-Guiard's pupil Capet and with Kauffman's circle, and the Belozersky is the museum's showpiece of the Russian manner. It hangs at eye level and the turban's red is the first thing seen.
The turban; the shawl; the hand; the face; the dark ground. Then the museum's other women of the 1790s, for the company.
The turban in the Russian portraits — the Belozersky, the Skavronskaia of 1796, the Tolstaya, the Kurakina — was the painter's fashion and the sitters' adoption of it; the Souvenirs say the Petersburg women 'dressed in the French taste', which by 1798 meant the antique and the oriental: turbans, shawls, tunics. The picture is a document of that fashion's arrival in Russia with the painter, and of the Russian nobility's wish to be painted as Parisiennes of the Directory by the painter of the Queen. The signature and date, 1798, are at the lower left; the picture's condition is good, and its acquisition by the NMWA in its founding years placed it at once among the museum's most reproduced works. The NMWA's 2016 hanging placed it beside the museum's Labille-Guiard, the rival's picture and this one a few feet apart for the first time.
Julie as Flora (Museum of Fine Arts, St. Petersburg, Florida): the daughter at nineteen as Flora with a wreath and a garland, half-length against a sky — the last great Julie, painted the year before the marriage that ended the relationship; the Florida museum's picture is its treasure, and the city's name is a coincidence the museum enjoys.
Princess Evdokia Ivanovna Golitsyna, née Izmailova (Utah Museum of Fine Arts): the 'Princesse Nocturne' (1780–1850), the famous beauty who received only at night and whom Pushkin adored, at nineteen, in a white dress with a red shawl against a landscape — the most celebrated of the painter's Golitsyns, and Utah's second.
Natalia Zakharovna Kolycheva, née Hitrovo (Dallas Museum of Art): a young Russian in a white dress with a red shawl, seated — the Dallas museum's first of two (the Michel of 1802 is the second), from the Wendy and Emery Reves collection.
A Young Woman as Atalanta, said to be the Artist's Daughter (private collection): a young woman as the huntress with a bow — identified by tradition as Julie at nineteen; the last of the allegorical Julies with the Flora of the same year.
Princess Radziwiłł (Musée des Beaux-Arts, Orléans or similar municipal collection): a small head of a Radziwiłł princess in a turban, of the Petersburg years — the Radziwiłłs were the painter's Polish clients in Russia, and the 1802 Warsaw portraits of the family are in this catalogue.
Prince Ivan Baryatinsky (1772–1825) (Tretyakov Gallery, Moscow): the prince, at twenty-eight, in a red coat — the diplomat and agronomist, the Tolstaya's brother; the Tretyakov's version, with the Pushkin Museum's 1803 one in this catalogue.
Works retrieved from Wikidata (creator P170 = Q213163, with image P18); dates from P571 where present, otherwise supplied from the literature; locations from P195/P276; materials P186; dimensions P2048/P2049. Tier labels reflect how many Wikipedia language editions carry an article on the work. Images from Wikimedia Commons; click to enlarge, arrow keys to step. Fetched 2026-08-21.