Hungarian by birth, Mihaly Zichy (1827 - 1906), was invited to Russia in 1847 to give drawing lessons at the court of Emperor Nicholas I. And despite everything, he took root in Russia so much that he turned from Mikhai into Mikhail Alexandrovich, became the court artist of the Russian emperors right up to Nicholas II, about whom he was even elected an honorary member of the Academy of Arts.
Mihai Zichy, or as he was called in Russia Mikhail Alexandrovich, was born in Hungary in 1827. He received his high school and university education in Budapest, where he studied painting and drawing techniques with the Italian artist Marostroni, then continued his artistic education at the Vienna Academy of Arts, with Waldmüller.
Artist, photo 1891
Coronation of Alexander II in the Assumption Cathedral.
The first exhibitions of budding talent took place in Switzerland. The paintings “A recovering girl prays before the image of the Mother of God,” “The Dying Knight” (1844), “Nailing Up the Coffin of a Child,” “The Crucifixion,” and the altarpiece for Fünfkirchen Cathedral (1845) made Mihaly Zichy famous not only in Europe.
Performance at the Moscow Bolshoi Theater on the occasion of the sacred coronation of Emperor Alexander II.
Gala dinner in the Chamber of Facets.
Entry of Alexander II's motorcade into Moscow.
The procession heads to the Assumption Cathedral.
Rumors about him also reached the Russian imperial court. He was invited by Grand Duchess Elena Pavlovna as a teacher of fine arts to her daughter, Grand Duchess Ekaterina Mikhailovna.
Arriving in St. Petersburg in 1847, 20-year-old Zichy received several more lessons in various aristocratic houses of the then capital. In 1856, for his watercolor sketches of the coronation of Alexander II, the St. Petersburg Academy of Arts awarded him the title of academician.
Breakfast of two emperors. Wilhelm and Alexander.
A ceremonial dinner in the Concert Hall of the Winter Palace on the occasion of the visit of German Emperor Wilhelm I to St. Petersburg.
Cavalry attack. An episode of the parade on the Champ de Mars in honor of the visit of the German Emperor Wilhelm I.
In 1859, Zichy was appointed court painter of the imperial court. He would serve in this position until 1873, when he left to work in Paris on the order of the Hungarian government.
Congratulations to Alexander II on January 1, 1863 by the diplomatic corps.
Parade of the 12th Grenadier Astrakhan E.I.V. heir to the regiment in front of the Anichkov Palace
Ball in honor of Emperor Alexander II in Helsingfors.
Alexander II with a group of military men at a table in a Gothic interior.
Upon returning to Russia in 1880, he again occupied an honorary position, continuing to capture the ceremonial and everyday life of the greatest persons. Zichy painted balls, theatrical performances, parades, camp life, imperial hunts, and drew caricatures of courtiers.
Alexander II and Nasr-ed-Din Shah during the parade on Tsarina's Meadow.
Cavalry guards at the meeting of the Persian Shah Nazir ad-Din.
A ball in the Concert Hall of the Winter Palace during the official visit of Shah Nasr-ed-Din in May 1873.
State Council meeting.
For 30 years, according to the curator of the pre-war Gatchina Palace Museum V.K. Makarov, the artist was a “historian of court life.” He recorded both ceremonial and family events on the pages of his albums: court balls, theatrical performances, parades, camp life, imperial hunts and caricatures of courtiers.
Costume ball in the palace of Princess Elena.
He was the favorite portrait painter of Nicholas I and Alexander II. Alexander III collected his works and decorated his rooms in the Gatchina Palace.
Alexander III dying.
Death of Alexander III
Removal of the body of Alexander III from the Small Palace in Livadia.
Mikhail Alexandrovich Zichy or Mihaly Zichy (Hungarian Zichy Mihály; October 14 or 15, 1827, Zala (Hungary) - February 28, 1906, St. Petersburg) - Hungarian graphic artist and painter from the noble Zichy family, who worked a lot in Russia
He received a gymnasium and university education in Budapest, and then studied drawing and painting, first there, with the Italian artist Marostoni, and then at the Vienna Academy of Arts, where his main mentor was F. G. Waldmüller. Having already earned some fame for the paintings exhibited in Vienna: “A convalescing girl prays before the image of the Mother of God,” “The Dying Knight” (1844), “Nailing Up the Coffin of a Child” (located in the Budapest Museum), “The Crucifixion,” an altarpiece for Fünfkirchen Cathedral (1845) and others, was invited by Grand Duchess Elena Pavlovna to teach drawing and painting to her daughter, Grand Duchess Ekaterina Mikhailovna.
He arrived in St. Petersburg in 1847 and, in addition to classes with Her Highness, received lessons in some aristocratic St. Petersburg houses. Two years later, he had to give up teaching and find a living by making drawings for sale and retouching light-painted portraits. During this difficult time in his life, Zichy found some support in Prince Alexander of Hesse-Darmstadt. Zichy owes the improvement of his position to Théophile Gautier, who visited St. Petersburg in 1858. In the book “Voyage en Russie” Gautier devoted an entire chapter to Zichy, which significantly raised his reputation among the Russian public.
In 1859, Zichy was appointed court painter, a title he remained in until 1873. During this 15-year period of his activity, he executed many drawings depicting various incidents of court life, scenes of the Imperial hunt, caricatures of people close to the court, etc. (found mainly in the imperial palaces and albums of the highest persons).
"Alexander III hunting in Belovezhskaya Pushcha in August 1894"
Even before this, in 1856, he reproduced in watercolors the main sketches of the coronation of Emperor Alexander II, for which the St. Petersburg Academy of Arts awarded him the title of academician. In 1869, an exhibition of his works was organized. In 1874, he went to Paris, where he painted, among other things, commissioned by the Hungarian government, a painting: “The Austrian Empress Elizabeth lays a wreath on the coffin of Deak,” and placed his drawings in illustrated publications.
Since 1880, Zichy was again in Russia, in his previous position, and worked as a draftsman-chronicler of ceremonies, entertainment and family events of the highest court.
MIHAI ZICHI about illustrating Lermontov:
“Ever since I learned Russian styles, Lermontov’s work gave rise to a genuine cult of this poet in me... I tried to illustrate him”
“Traveling around the Caucasus in order to study the nature and types of the country to illustrate Lermontov’s work, I was struck by the extraordinary accuracy of his descriptions, even of very unpicturesque areas, as well as buildings where, according to his story, the novel “Princess Mary” seemed to take place.
In the same way, following the author’s description, Professor Viskovatov and I freely found the house of “Gudala” from “The Demon”. From this it is clear that the accuracy of such a description was foreseen in advance and pursued by Lermontov as a means to achieve the greatest impression and confidence in the verisimilitude of his story. And indeed, to those reading his novel it seems as if Princess and Princess Ligovsky lived in a house on the old boulevard in Pyatigorsk, which in fact still exists to this day. Rebrov's house in Kislovodsk and the window of Princess Mary are shown with firm confidence, as well as the rock where the duel took place and Grushnitsky was killed.
I was in the Caucasus in 1881, and I still managed to see and sketch the views and buildings described by Lermontov. But already during my stay they began to rebuild the grotto; The Ermolovsky baths were demolished, and in place of the simple Elisabeth spring there already stood a luxurious building. The old boulevard has been replaced by a beautiful new one. The same fate will soon befall the “Rebrov” house, the “Restauration” building, etc. People who value not only published works, but also scraps of paper covered with fantastic sketches from Lermontov’s pen, I hope, will also appreciate the drawings of the places he described, and, I dare to think that the public will forgive the artist if, following step by step Lermontov’s description, he also tried to draw in detail from life what the great poet described. I repeat that my drawings are not anything fictitious or fantastic, but, so to speak, an exact copy of the described originals.
By placing several figures in the drawings as staffage, I conveyed all the outstanding scenes of the novel. So the collection of landscapes available here represents an almost complete illustration of the novel “Princess Mary.”
A series of illustrations by the Hungarian artist Mihaly Zichy, as well as pencil sketches made during his trip to the Caucasus, are reproduced in the book by Lermontov M. Yu. “Princess Ligovskaya. Hero of our time".
"Court historian
life"
Performance at the Moscow Bolshoi Theater on the occasion
The most famous representative of the Hungarian
romanticism, whose life and work were closely connected with the Russian
empire. According to the curator of the pre-war Gatchina Palace Museum V.K.
Makarov, the artist was a “historian of court life”: hunting scenes, court
life, theatrical performances amaze with historical accuracy of transmission
details and character recognition. The artist is also known for his magnificent
drawings of an erotic nature. These works surprise with their openness and courage
presentation of the theme of carnal love.
Count Mikhail Alexandrovich (as he was called
in Russia) was born in the town of Zala (Hungary) in October 1827. Started to draw
almost from the cradle. He called the Pest artist his first painting teacher.
artist Jacob Marashtoni. And in 1844 Mihai Zichy became a student at
the workshop of the very famous Viennese painter Ferdinand Wallmuller,
who created a name for himself in the aristocratic society of Europe thanks to his unusual
technique that he used in his works, keen observation,
the ability to exquisitely convey the romantic atmosphere in landscapes, to reveal
the most characteristic personality traits in portraits. Creativity of an aesthetic master
Viennese Biedermeier shaped his taste, direction in painting and drawings
young Hungarian artist. In 1847, Grand Duchess Helena
Pavlovna, sister of the Russian Tsar Nicholas I, turned to Ferdinand
Wallmuller with a request to teach her daughter painting. The capricious crown did not want
leave his hometown for the Northern capital, and he sent to St. Petersburg
his best student. This is how Mihai Zichy ended up in Russia.
Congratulations,
brought to His Majesty Emperor Alexander II by members of the imperial family
after the coronation took place on August 26, 1856
To the capital of Russian
empires the artist Mihai Zichy arrived in 1847. In two years
I had to give up teaching in the family of the Grand Duchess - the artist leaves
for “free bread”. Now he sells his drawings and rules
light-painting portraits, retouching them. These are difficult times for the artist.
During these days, he received some support from Prince Alexander from the family
Hesse-Darmstadt.
National holiday on Khodynskoe field in Moscow on the occasion
sacred coronation of Emperor Alexander II
Positive changes in life
Mihai Zichy obliged to the then famous French poet
Théophile Gautier. Having visited St. Petersburg in 1858, he, based on his
impressions writes the book “Travel to Russia”. Dedicated to Mikhail
For Alexandrovich Zichy, the head raised the artist’s reputation among the Russian elite,
and already in 1859 he became a court painter, having held this post
almost 15 years, until 1873. During these years, in my drawings and paintings,
Mikhail Zichy captured many moments of court life: state affairs and
the life of imperial persons, royal hunting, caricatures of people close to the court and
much more.
Portrait
Empress Maria Alexandrovna, Dowager Empress Alexandra Feodorovna and
Grand Duchess Alexandra Iosifovna. 1857
Watercolor works
artist, written in 1856 and dedicated to the coronation of the Russian
autocrat Alexander II, was appreciated by the city's Academy of Arts
St. Petersburg and awarded Mihai Zichy the title of academician. In 1869 there was
a personal exhibition of the artist was organized. In 1874, the artist left for Paris
and returns to Russia only in 1880. He is again accepted to his previous position -
draftsman-chronographer at the imperial Russian court. The artist died
Zichy Mihai(Mikhail Alexandrovich) in St. Petersburg. It happened on 28
February 1906.
Alexander II with courtiers in the Arsenal Hall
Gatchina Palace. 1859
Costume ball in the palace of Princess Elena Kochubey in
honor of Emperor Alexander II February 5, 1865
Wedding of Grand Duke Alexander Alexandrovich and
Grand Duchess Maria Feodorovna. 1867
Breakfast of Emperors Alexander II and Wilhelm I
Winter Palace
Scenes of the meeting between Alexander III and the Austrian Emperor
Franz Joseph in Kremsier in August 1885. 1887
Wedding
Grand Duchess Ksenia Alexandrovna and Grand Duke Alexander Mikhailovich 25
July 1894 in the Great Church of the Peterhof Palace.
1895
Congratulations from Alexander II
diplomatic corps on January 1, 1863. State
Hermitage
Arrival
Princess Alice of Hesse to Livadia on October 10, 1894
Cavalry Guards
at a meeting of the Persian Shah Nasir ad-Din
Source
Carrying out the body
Alexander III from the Small Palace in Livadia
Descent of the coffin with the body of Alexander III
Sevastopol
Mihai Zichy.
Funeral of Tsar Alexander III Source
Performance
in the Winter Palace to Shah Nasir ad-Din the Grand Duchess
Maria
Ball in
Concert hall of the Winter Palace during the official visit of Shah Nasir ad-Din to
May 1873. 1874
Reception
Persian Shah Nasr-ed-Din in St. Petersburg during his official
visit
Coronation of Alexander II in the Assumption Cathedral of Moscow
Kremlin August 26
Entry Procession Alexander II
Prozession Alexandra Fjodorownas in die
Uspenskij-Kathedrale", 1856
Parade performance in honor of the German Emperor
Wilhelm I at the Mikhailovsky Theater
Source
Alexander II and Nasir ad-Din Shah during the parade in
Tsaritsyn
Cavalry attack. Episode of the parade on Marsovoy
field
Alexander II with a group of military officers at a table in Gothic
interior
Ceremonial dinner in the Winter Concert Hall
palace
Gala lunch in Granovitaya
ward
Taras Bulba. Illustration.
Celebrating the 100th anniversary of Pavlovsky's Life Guards
shelf
Saint's Day
George
Coronation of Nicholas
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Classmates
Mikhail Alexandrovich Zichy or Mihaly Zichy (Hungarian Zichy Mihály; October 14 or 15, 1827, Zala (Hungary) - February 28, 1906, St. Petersburg) - Hungarian draftsman and painter from the noble Zichy family, who worked a lot in Russia
He received a gymnasium and university education in Budapest, and then studied drawing and painting, first there, with the Italian artist Marostoni, and then at the Vienna Academy of Arts, where his main mentor was F. G. Waldmüller. Having already earned some fame for the paintings exhibited in Vienna: “A convalescing girl prays before the image of the Mother of God,” “The Dying Knight” (1844), “Nailing Up the Coffin of a Child” (located in the Budapest Museum), “The Crucifixion,” an altarpiece for Fünfkirchen Cathedral (1845) and others, was invited by Grand Duchess Elena Pavlovna to teach drawing and painting to her daughter, Grand Duchess Ekaterina Mikhailovna.
He arrived in St. Petersburg in 1847 and, in addition to classes with Her Highness, received lessons in some aristocratic St. Petersburg houses. Two years later, he had to give up teaching and find a living by making drawings for sale and retouching light-painted portraits. During this difficult time in his life, Zichy found some support in Prince Alexander of Hesse-Darmstadt. Zichy owes the improvement of his position to Théophile Gautier, who visited St. Petersburg in 1858. In the book “Voyage en Russie” Gautier devoted an entire chapter to Zichy, which significantly raised his reputation among the Russian public.
In 1859, Zichy was appointed court painter, a title he remained in until 1873. During this 15-year period of his activity, he executed many drawings depicting various incidents of court life, scenes of the Imperial hunt, caricatures of people close to the court, etc. (found mainly in the imperial palaces and albums of the highest persons).
"Alexander III hunting in Belovezhskaya Pushcha in August 1894"
Even before this, in 1856, he reproduced in watercolors the main sketches of the coronation of Emperor Alexander II, for which the St. Petersburg Academy of Arts awarded him the title of academician. In 1869, an exhibition of his works was organized. In 1874, he went to Paris, where he painted, among other things, commissioned by the Hungarian government, a painting: “The Austrian Empress Elizabeth lays a wreath on the coffin of Deak,” and placed his drawings in illustrated publications.
Since 1880, Zichy was again in Russia, in his previous position, and worked as a draftsman-chronicler of ceremonies, entertainment and family events of the highest court.
Mikhail Alexandrovich Zichy or Mihai Zichy (Hungarian: Zichy Mihály; October 14 or 15, 1827, Zala (Hungary) - February 28, 1906, St. Petersburg) - a Hungarian draftsman and painter from the noble Zichy family, who worked a lot in Russia.
He received a gymnasium and university education in Budapest, and then studied drawing and painting, first there, with the Italian artist Marostoni, and then at the Vienna Academy of Arts, where his main mentor was F. G. Waldmüller. Having already earned some fame for the paintings exhibited in Vienna: “A convalescing girl prays before the image of the Mother of God,” “The Dying Knight” (1844), “Nailing Up the Coffin of a Child” (located in the Budapest Museum), “The Crucifixion,” an altarpiece for Fünfkirchen Cathedral (1845) and others, was invited by Grand Duchess Elena Pavlovna to teach drawing and painting to her daughter, Grand Duchess Ekaterina Mikhailovna.
He arrived in St. Petersburg in 1847 and, in addition to classes with Her Highness, received lessons in some aristocratic St. Petersburg houses. Two years later, he had to give up teaching and find a living by making drawings for sale and retouching light-painted portraits. During this difficult time in his life, Zichy found some support in Prince Alexander of Hesse-Darmstadt. Zichy owes the improvement of his position to Théophile Gautier, who visited St. Petersburg in 1858. In the book “Voyage en Russie” Gautier devoted an entire chapter to Zichy, which significantly raised his reputation among the Russian public.
Fancy dress ball at the palace of Princess Helena Kochubey in honor of Emperor Alexander II on Feb 5, 1865
(http://gallerix.ru)
In 1859, Zichy was appointed court painter, a title he remained in until 1873. During this 15-year period of his activity, he executed many drawings depicting various incidents of court life, scenes of the Imperial hunt, caricatures of people close to the court, etc. (found mainly in the imperial palaces and albums of the highest persons).
Even before this, in 1856, he reproduced in watercolors the main sketches of the coronation of Emperor Alexander II, for which the St. Petersburg Academy of Arts awarded him the title of academician. In 1869, an exhibition of his works was organized. In 1874, he went to Paris, where he painted, among other things, commissioned by the Hungarian government, a painting: “The Austrian Empress Elizabeth lays a wreath on the coffin of Deak,” and placed his drawings in illustrated publications.
Since 1880, Zichy was again in Russia, in his previous position, and worked as a draftsman-chronicler of ceremonies, entertainment and family events of the highest court. Of his works, in addition to those already mentioned, the following drawings are worthy of attention: “Messiah and Luther in the Wartburg”, “Man between Reason and Stupidity”, “Jewish Martyrs”, “Florentine Orgy”, “The Death of King Candaules”, “Earth Thou Art and into the Earth you will return”, “Tamara and the Demon” (based on a plot from Lermontov’s poem), “The Moneylender”, “Bernard Palissy”, “The Last Minutes of Werther”, “Theater Curtain Project for the Anichkov Palace” and some others.
Alexander II and Nasir al-Din Shah during the parade on the Empress meadow
A digital reproduction of this painting is in the collection of the online gallery Gallerix.ru
(http://gallerix.ru)
Alexander II with a group of governmental table in the Gothic interior
A digital reproduction of this painting is in the collection of the online gallery Gallerix.ru
(http://gallerix.ru)
Breakfast of Emperors Alexander II and William I in the Winter Palace
Carrying of Alexander IIIs Bier Down the Gangway in Sevastopol
Carrying Out of Alexander IIIs Bier from the Small Palace at Livadia
Carrying Out of Alexander IIIs Bier
Ceremonial Dinner in the Faceted Chamber
Crowning of the Empress
Dead-Office for Alexander III in his Bedroom in the Small Palace at Livadia
Military Group Portrait
Design of a Theatrical Curtain
Love on Sale
Luther Latomasa, 1871
Mihaly Zichy The Knight in the Panther's Skin 27
Ante-Room in the Imperial Palace at Tsarskoye Selo
Public Festival
Recumbent Nude
Romantic Encounter
Performance in the Bolshoi Theater
Falstaff with a Tankard of Wine and a Pipe
Emperor Nikolas II" Family
Eleven Lithographic Prints of Nudes
Eleven Lithographic Prints of Nudes 3
Eleven Lithographic Prints of Nudes 4
Eleven Lithographic Prints of Nudes 5
Scene from the Crimean War
Az emberi tehetetlenseg
Abrand a festekes lada felett,1888
Taras Bulba
Ukladka vesheiy dlia poezdki v Moskvu
Theatrical Improvisations on Various Subjects
The Love Potion
Self-caricature
A digital reproduction of this painting is in the collection of the online gallery Gallerix.ru
