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 picture in the Tretyakov Gallery, which is attributed to him, yet, owing to his excellent portraits of the actor Volkov and of Sumarokov, and his admirable studies from nature, Losenko must retain a place of honour in the history of Russian painting. Perfectly cheerless are his historical compositions, in which he painfully strove, but utterly failed, to approach the "noble" style of the Parisian Academy.

Rokotov's personality is even less known to us than that of Losenko, but his great pictorial gift is attested by his numerous works. Rokotov became prominent very rapidly. In 1760 he entered the Academy—not, surely, as a pupil; and as early as 1762 he was nominated adjunct-professor. In the same year he painted two portraits of the Emperor Peter III, hardly inferior to the best works of Rotari. Catherine herself, who never sat for Levitzky, graciously allowed Rokotov to paint her portrait from life. The third portrait of the Empress, in the Romanov Gallery, was considered in Catherine's life-time the most successful likeness of her. At the end of the sixties Rokotov settled definitively in Moscow, came back to Petrograd in the nineties, and died in 1812. This is all we know about the master, in whom Russia may take no less pride than in Levitzky and Borovikovsky.