This coronation portrait of Catherine II combines the traditional ceremonial style of imperial portraits of the first half of the XVIII century – portraying an inherently grand and noble figure – with the newer trends that were emerging under the influence of the New Age. It was at this time that the ideal of an enlightened monarch was being cultivated.

   Rokotov was the first Russian artist to have a special honor of painting the coronation portrait of Catherine II in all her imperial regalia. The painter pictured the Empress sitting on a throne in a brocade silver dress and an ermine robe. In her right hand she holds a scepter, leaning her left hand on the velvet pillow with the orb lying on it. The console to the right of the figure is decorated with a monogram of the empress in an ornamental frame.

   Fyodor Rokotov painted a ceremonial portrait of the “just monarch”, under whose scepter the Russian Empire was to prosper. The composition of the canvas is based on the comparison of a strict, emphatically “heraldic” profile of the depicted figure and her body in a turn of three quarters. The gesture of Catherine II, full of greatness, is not addressed to the viewer, but to the invisible company. The viewers do not enter the space of the picture, they are only witnesses to the demonstrated scene. The artist created the effect of timelessness and detachment, strictness and solemnity of the event.

   This is facilitated by a coloristic solution based on a combination of contrasting colors: cool silver-lilac tone of the dress and blue shade of the St. Andrew’s ribbon with a rich crimson tone of the throne’s upholstery and a green hue of drapery. Rokotov achieved a brilliant decorative effect in the picture by comparing large colorful surfaces designed to make a portrait contemplated from afar. Saturation of the color palette matches the expressiveness of the picture.

   Catherine’s profile is delineated by a thin continuous line emphasizing the sloping forehead, thin pressed lips, and double chin. In the garment of the empress, the folds of the dress and mantle are slightly marked by separate “fine” lines, while the contour above them becomes more elastic and precise.

   The image is based on a shoulder-length sketch made the same year, probably from the Empress herself. The picture accurately depicts the turn of Catherine’s head and her hairstyle with powdered hair interwoven with pearly threads.

   The portrait was recognized as the official image of the Empress. In 1766, at the request of the Collegium of Foreign Affairs, Rokotov made six replicas for Russian embassies abroad.

百度翻译：http://fanyi.baidu.com

　　叶卡捷琳娜二世（1729年至1796年）的加冕画像结合了十八世纪上半叶的帝王画像的传统仪式风格 - 塑造一个固有的伟大高贵的形象 - 与受新时代新思潮影响下的出现的新趋势。

　　俄罗斯文化中这个时候形成了开明君主的理想。坐在王座的叶卡捷琳娜二世严肃庄重姿态，仿佛在和一个无形的人交谈。这姿势让女皇有了丝生动和亲密。

　　但是，女皇的帝王霸气、侧脸、仿古罗马雅典式的浮雕宝石、柔软蓬松的衣服，一一细致描绘的勋章，宏伟的圆柱柱脚和厚重的帷幔形成了隆重的有代表性的结构，塑造了完美的，超越时间的女主人公形象。

　　叶卡捷琳娜二世认为这幅画像是自己众多肖像中最好的之一。

特列季亚科夫画廊，第四展厅

　　费奥多尔·斯捷潘诺维奇·罗科托夫（1735？—1808年）俄罗斯著名肖像画画家，彼得堡艺术学院美术院士。是俄罗斯最早的能被称作学院派画家的大师之一。在罗科托夫式的肖像画中，实现了艺术形式的复杂化、显微化，从而满足了启蒙后的贵族愈发精致的品味和增长的需求。