Hungarian Queen Isabella Jagiellonian receives a Turkish envoy, c. 1879
I have no further description, at this time
Her husband's death sparked renewed hostilities but Sultan Suleiman established her as a regent of the eastern regions of the medieval Kingdom of Hungary on behalf of her infant son. The region developed as a semi-independent buffer state noted for its freedom of religion. Ferdinand, however, never renounced his claims to reunite Hungary and conspired with Bishop George Martinuzzi who forced Isabella to abdicate in 1551. She returned to her native Poland to live with her family. Sultan Suleiman retaliated and threatened to invade Hungary in 1555–56 forcing nobles to invite Isabella back to Transylvania. She returned in October 1556 and ruled as her son's regent until her death in September 1559. More on Isabella Jagiellon
Viktor Madarász (14 December 1830 – 10 January 1917) was a Hungarian painter in the Romantic style. He is best known for historical scenes and portraits.
He was born in Csetnek, and descended from an impoverished noble family originating in Gömör és Kis-Hont County. His father, András, was an iron manufacturer and craftsman. Originally, he was destined for a career in law and went to study in Pozsony.
When the Hungarian Revolution began, he and his brother (also named András) left school to join the struggle. He was a participant in numerous actions, became a Second Lieutenant and was present during the surrender at Világos. After hiding out briefly, he returned home on foot and joined his family in Pécs. He continued with his legal studies, but also began taking lessons from a local artist.
This first major historical composition of the master was made at the end of his academic studies in Vienna. The picture is an imaginary depiction of one of the chapters of the Hungarian tragedies, it does not evoke a specific event. A dying kuruc in the arms of his wife, who is clutching his infant, is a valiant knight on the right, and on the left is a depraved figure of a laban pointing threateningly at the arrest warrant. In the middle stands the priest, who embodies the coveted peace. More on this painting
In 1853, he enrolled for preparatory work at the Academy of Fine Arts, Vienna. Two years later, he entered the history painting class of Ferdinand Georg Waldmüller. His first historical painting, Kuruc and Labanc (depicting brothers fighting on opposite sides) (See above), was warmly received. In 1856, he went to Paris, where he studied in the studios of Léon Cogniet and at the École des Beaux Arts. He was also influenced by the style of Paul Delaroche. His painting The Mourning of László Hunyadi won a medal at the 1861 Salon (See below).
Viktor Madarász (14 December 1830 – 10 January 1917) was a Hungarian painter in the Romantic style. He is best known for historical scenes and portraits.
He was born in Csetnek, and descended from an impoverished noble family originating in Gömör és Kis-Hont County. His father, András, was an iron manufacturer and craftsman. Originally, he was destined for a career in law and went to study in Pozsony.
Viktor Madarász, Csetnek [Štítnik], 1830 – Budapest, 1917
Felicián Zách, c. 1858
Oil on canvas
152 × 111 cm
Hungarian National Gallery
Klara Zach was the daughter of the Hungarian magnate Felicjan Zach , courtier of the Hungarian queen Elżbieta Łokietkówna .
According to chroniclers, she was supposed to be of extraordinary beauty, which was noticed by prince Kazimierz , who lived in Hungary at the turn of 1329 and 1330 , who raped Klara. The incident caused the anger of the girl's father, who on April 17, 1330, stormed the castle of the Hungarian king Charles Robert and tried to kill him and his family. After Zach's defeat, his entire family was murdered, and Klara was maimed. Klara Zach
When the Hungarian Revolution began, he and his brother (also named András) left school to join the struggle. He was a participant in numerous actions, became a Second Lieutenant and was present during the surrender at Világos. After hiding out briefly, he returned home on foot and joined his family in Pécs. He continued with his legal studies, but also began taking lessons from a local artist.
Viktor Madarász (–1917)
Kuruc és Labanc, c. 1855
Oil on canvas
Height: 253 cm (99.6 in); Width: 300 cm (118.1 in)
Hungarian National Gallery
In 1853, he enrolled for preparatory work at the Academy of Fine Arts, Vienna. Two years later, he entered the history painting class of Ferdinand Georg Waldmüller. His first historical painting, Kuruc and Labanc (depicting brothers fighting on opposite sides) (See above), was warmly received. In 1856, he went to Paris, where he studied in the studios of Léon Cogniet and at the École des Beaux Arts. He was also influenced by the style of Paul Delaroche. His painting The Mourning of László Hunyadi won a medal at the 1861 Salon (See below).
Viktor Madarász, Csetnek [Štítnik], 1830 – Budapest, 1917
Miklós Zrínyi poet and general, ca. 1858
Oil on canvas
55.5 × 46 cm
Hungarian National Gallery
Miklós Zrínyi, statesman, military leader, and author of the first epic poem in Hungarian literature.
Born into an extremely wealthy aristocratic family, Zrínyi was educated by the Jesuits and became viceroy of Croatia in 1647. His chief concern was driving the Turks out of Hungary, and he spent his entire life fighting the conquerors, becoming the outstanding Hungarian military leader of his century. Zrínyi also opposed Habsburg rule and sought the unification of his dismembered country and the organization of a modern absolutist state. In 1664 he started an anti-Habsburg organization but was killed that same year by a wild boar. More on Miklós Zrínyi
Viktor Madarász
Mourning for László Hunyadi, c. 1859
Oil on canvas
243 x 311.5 cm
Hungarian National Gallery
László Hunyadi was a Hungarian nobleman, and elder of the two sons of John Hunyadi, voivode of Transylvania and later regent of the Kingdom of Hungary. He was the older brother of Matthias Hunyadi, who would later become the king of Hungary. At a very early age he accompanied his father in his campaigns. After the Battle of Kosovo (1448) he was left for a time, as a hostage for his father. In 1452 he was a member of the deputation which went to Vienna to receive back the Hungarian king Ladislaus V. In 1453 he was already ban of Croatia and Dalmatia. At the diet of Buda (1455) he resigned all his dignities, because of the accusations of Ulrich II, Count of Celje, and other enemies of his house, but a reconciliation was ultimately patched together and he was betrothed to Maria, the daughter of the palatine, Ladislaus Garai. More on László Hunyadi
The composition is built on a single central motif: the dramatic contrast of a dark funerary chapel and Hunyadi’s dead body covered with a white shroud. Madarász’s monumental painting focuses on a dead hero (more accurately, a Hungarian hero who the Habsburg king, Ladislaus Posthumous, ordered to be executed), through which he conveyed the public sentiment in Hungary in the years around 1860: that of hopelessness, injustice done to the Hungarian nation, the king’s betrayal, and the moral command to remember the dead martyrs. More on this painting
Gabriel Bethlen was Prince of Transylvania from 1613 to 1629 and Duke of Opole from 1622 to 1625. He was also King-elect of Hungary from 1620 to 1621, but he never took control of the whole kingdom. Bethlen, supported by the Ottomans, led his Calvinist principality against the Habsburgs and their Catholic allies. More on Gabriel Bethlen
Viktor Madarász, Csetnek [Štítnik], 1830 – Budapest, 1917
The Exile’s Dream, c. 1856
Oil on canvas
254 × 192 cm
Hungarian National Gallery
In 1856 Madarász displayed a strange painting at the exhibition of the Art Society in the city of Pest. The large canvas bore the title The Dream of the Fugitive during the War against the Turks, and showed a young man and a soldier sleeping while two ghostly apparitions – an old man in chains, dressed in white, and a horrid, dark, winged figure with a cape and a skull-like face – hover above them. The painting received much attention from the critics, who did their best to try to interpret it. A month later Madarász helped them out by hanging an explanation next to the painting. As it turned out, the title – which mentions no specific person and refers to the war against the Turks – was only a ruse to avoid censorship: the real subject of the painting was the struggle against Austrian rule. The sleeping youth was none other than Imre Thököly, the future leader of an uprising against Austria, who had just fled from his family’s castle – under siege by the Austrians and defended by Thököly’s father, a rebel himself. Thököly the elder had died that night, and the picture shows his ghost appearing to his son in a dream. More on The Exile’s Dream
Viktor Madarász, Csetnek [Štítnik], 1830 – Budapest, 1917
Ilona Zrínyi in the Castle of Munkács, c. 1859
Oil on canvas
146.5 × 185 cm
Hungarian National Gallery
Countess Ilona Zrínyi was a noblewoman and heroine. She was one of the last surviving members of the Croatian-Hungarian Zrínyi noble family. the wife of Imre Thököly, She is remembered in history for her Defense of Palanok Castle against the Habsburg army.
After their defeat at the 1683 Battle of Vienna, both the Ottoman forces and Thököly's allied Kuruc fighters had no choice but to retreat, and Thököly quickly lost one Rákóczi castle after another. At the end of 1685, the Imperial army surrounded the last remaining stronghold, Palanok Castle in Munkács. Ilona Zrínyi alone defended the castle for three years against the forces of General Antonio Caraffa.
On 17 January 1688, Ilona had no choice but to surrender the castle, with the understanding that the defenders would receive amnesty from the Emperor, and that the Rákóczi estates would remain in her children's name. Under this agreement, she and her children traveled immediately to Vienna, where in violation of the pact the children were taken from her. Ilona lived until 1691 in the convent of the Ursulines.
At the time, her husband, Thököly, was still fighting the Habsburg army in Upper Hungary. When Habsburg General Heisler was captured by Thököly, a prisoner exchange was arranged, and Ilona joined her husband in Transylvania. In 1699, however, after the Treaty of Karlowitz was signed, both spouses, having found themselves on the losing side, had to go into exile in the Ottoman Empire. The countess lived in Constantinople, and later in Izmit, where she died on 18 February 1703. More on Ilona Zrínyi
Viktor Madarász, Csetnek [Štítnik], 1830 – Budapest, 1917
Dobozi and his Spouse, c. 1868
Oil on canvas
116 × 311.5 cm
Hungarian National Gallery
The landscape and the horse - depicted at a magic steed - reveal the horror of the last moments of the couple running away in full gallop from the Turks. On realizing that there is no escape, they commit suicide. The wide horizontal format and the horizontal line of the clouds at sun-set are used to emphasize the deadly speed of the race. More on this painting
Viktor Madarász, Csetnek [Štítnik], 1830 – Budapest, 1917
Gábor Bethlen among his Scholars, c. 1870
Oil on canvas
73.5 × 106 cm
Hungarian National Gallery
Gabriel Bethlen was Prince of Transylvania from 1613 to 1629 and Duke of Opole from 1622 to 1625. He was also King-elect of Hungary from 1620 to 1621, but he never took control of the whole kingdom. Bethlen, supported by the Ottomans, led his Calvinist principality against the Habsburgs and their Catholic allies. More on Gabriel Bethlen
He returned to Hungary in 1870, but his style was heavily criticized for being too French, and revolutionary fervor had lessened considerably. In 1873, after especially harsh criticism of his work Gábor Bethlen Among the Scholars, he retired from painting and took over his father's business. He was so discouraged that many of his best works were virtually given away.
This painting depicts the emblematic figure of a young bride about to be dressed to take part in the celebration of the ritual known in Venice as “il toccamano”. It was a ceremony held in the home and not in church, during which a young woman whose hand was requested in marriage would touch the hand of the groom to express her consent. Madarász takes this as his inspiration for a seductive Venus, using an iconography that began in the early Renaissance, inspired by the ancient depiction of the “Venus pudica”. The girl, lying naked on a bed, gazes out at the onlooker in a flirtatious, allusive mannert. At the foot of the bed, the dog, a reference to fidelity in marriage. More on Venus of Urbino
In 1902, his business went bankrupt and was sold at auction. The following year, he attempted to restart his artistic career by painting portraits, but they were not up to his previous standards. He died in Budapest, totally forgotten, during the First World War. More on Viktor Madarász
Viktor Madarász (–1917)
Venus of Urbino (after Titian)
Oil on canvas
Height: 99 cm (38.9 in); Width: 172 cm (67.7 in)
Private collection
This painting depicts the emblematic figure of a young bride about to be dressed to take part in the celebration of the ritual known in Venice as “il toccamano”. It was a ceremony held in the home and not in church, during which a young woman whose hand was requested in marriage would touch the hand of the groom to express her consent. Madarász takes this as his inspiration for a seductive Venus, using an iconography that began in the early Renaissance, inspired by the ancient depiction of the “Venus pudica”. The girl, lying naked on a bed, gazes out at the onlooker in a flirtatious, allusive mannert. At the foot of the bed, the dog, a reference to fidelity in marriage. More on Venus of Urbino
In 1902, his business went bankrupt and was sold at auction. The following year, he attempted to restart his artistic career by painting portraits, but they were not up to his previous standards. He died in Budapest, totally forgotten, during the First World War. More on Viktor Madarász
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