Portrait of D.A. Derzhavina (1767–1842), née Dyakova, second wife of G.R. Derzhavin

Borovikovsky employs a subtle modulation of light to model the fabrics and the animal’s fur, creating a three‑dimensional presence. The background landscape—trees, a distant house, and a tranquil water surface—recedes through atmospheric perspective, while the crisp rendering of lace and embroidery demonstrates the painter’s meticulous brushwork.

Executed during Borovikovsky’s mature period, the portrait entered the Tretyakov Gallery’s collection in the early 20th century, where it remains on display. Its acquisition reflects the museum’s focus on Russian portraiture that documents the cultural elite of the Napoleonic era.

The painting belongs to a broader trend in Russian art where aristocratic and literary figures were commemorated in intimate, domestic settings. Borovikovsky, who served Catherine the Great’s court, often blended formal portrait conventions with personal, naturalistic details, as seen in this work.

As a representative example of Borovikovsky’s later oeuvre, the portrait contributes to the understanding of Russian elite visual culture in the post‑Napoleonic period. Its preservation in a major public collection ensures continued scholarly access to the stylistic and social nuances of early 19th‑century portraiture.