Vladimir Borovikovsky, a younger contemporary of Rokotov and Levitsky, produced a large number of miniatures, created individual images and whole iconostases for St Petersburg churches, although it was his portraits that brought him the greatest fame. His industriousness was almost incredible: “I am incessantly busy with my works, ” he wrote of himself. The Russian Museum alone possesses some one hundred paintings by him — genre and miniature portraits, compositions on religious subjects. Among those who sat for him were Empress Catherine II and her successor Paul I, dashing generals and noble officials, their poetically thoughtful or provocative daughters and wives. The type of female image he created in the 1790s was invariably popular with contemporaries. A fine example is the Portrait of Yekaterina Arsenyeva from the second half of the decade. The dreamy, coquettish daughter of a general is depicted as a playful shepherdess.