Ενημερωμένο Οκτώβριος 2026 · κατάταξη βάσει του σκορ δημοφιλίας μας (αναζητήσεις, επισκέψεις και παραγγελίες για κάθε έργο) · 15 έργα του Viktor Madarász στον κατάλογό μας
Σύνοψη
Το πιο γνωστό έργο του Viktor Madarász είναι το Dobozi and his Spouse (1868), από τη συλλογή του Εθνική Γκαλερία της Ουγγαρίας, Μπουδάπεστη. Οι επόμενες εγγραφές είναι οι The Exile's Dream (1856) και Felicián Zách (1858). Ο κατάλογος περιλαμβάνει 15 έργα του Viktor Madarász· τα 14 στοιχεία παρακάτω είναι τα πιο γνωστά, ταξινομημένα κατά σειρά κατάταξης με ημερομηνία, το μουσείο που τα διαθέτει και περιγραφή.
The canvas captures a moment of desperate velocity. A man and his wife gallop across a wide field, their horse appearing as a magic steed driven by the sheer force of their flight. They are fleeing from the approach of the Turks, and the realization of their inevitable capture has turned their flight into a final, terminal act. The composition utilizes a wide horizontal format, with the low line of…
Το μουσείο που φιλοξενεί τα περισσότερα έργα σε αυτήν τη σελίδα.
| Μουσεία | Πόλη | Έργα του Viktor Madarász | Πάτρια από αυτή τη λίστα |
|---|---|---|---|
 Εθνική Γκαλερία της Ουγγαρίας |
Μπουδάπεστη | 12 | Dobozi and his Spouse, The Exile's Dream, Felicián Zách |
Επιλέξτε μια δεκαετία για να εμφανιστεί το κύριο έργο της.
The canvas captures a moment of desperate velocity. A man and his wife gallop across a wide field, their horse appearing as a magic steed driven by the sheer force of their flight. They are fleeing from the approach of the Turks, and the realization of their inevitable capture has turned their flight into a final, terminal act. The composition utilizes a wide horizontal format, with the low line of…
Dobozi and his Spouse (1868), Εθνική Γκαλερία της Ουγγαρίας, Μπουδάπεστη. Οι επόμενες ε entries είναι The Exile's Dream (1856) και Felicián Zách (1858).
38 χρόνια: ο/η Viktor Madarász γεννήθηκε το 1830 και το έργο Dobozi and his Spouse χρονολογείται το 1868.
Dobozi and his Spouse, The Exile's Dream, Felicián Zách, Self Portrait, László Hunyadi on the Bier, Dózsa's People, Miklós Zrínyi poet and general, Felicián Zách, Gábor Bethlen among his Scholars και His Wife. Η παραπάνω λίστα καταγράφει την ημερομηνία και το μουσείο που τα φυλάσσει.
Ο κατάλογος περιλαμβάνει 15 έργα του Viktor Madarász, με ημερομηνίες από 1856 έως 1873.
Κυρίως σε Εθνική Γκαλερία της Ουγγαρίας (Μπουδάπεστη). Ο πίνακας μουσείων παραπάνω δείχνει την πλήρη κατανομή.
Στην 1850s: 6 από τα 14 έργα που περιλαμβάνονται σε αυτήν τη σελίδα χρονολογούνται σε αυτήν την περίοδο, συμπεριλαμβανομένου του The Exile's Dream.
Το παλαιότερο έργο που περιλαμβάνεται εδώ είναι του The Exile's Dream (1856), ενώ το νεότερο είναι του Miklós Izsó (1873).
Τα Dobozi and his Spouse, The Exile's Dream και Felicián Zách περιλαμβάνονται στα 12 έργα σε αυτήν τη σελίδα από τη συλλογή του Εθνική Γκαλερία της Ουγγαρίας, Μπουδάπεστη.
Born in 1830 in the small village of Csetnek, Viktor Madarász came from a family of once-noble descent that had fallen into poverty. His father, András, worked as an iron manufacturer and craftsman. The path laid out for him was one of law, leading him to study in Pozsony. However, the winds of change arrived with the Hungarian Revolution of 1848. Madarász left his studies behind to join the struggle for independence, serving first as a private soldier and later rising to the rank of Second Lieutenant. The defeat of the revolution and the subsequent surrender at Világos left him with deep scars. After a period in exile, he eventually returned to his family in Pécs.
This period of upheaval heavily influenced the themes he would later pursue on canvas. He did not merely paint history; he lived through its most turbulent chapters. His early training took him to the Academy of Fine Arts in Vienna between 1853 and 1855, where he studied under Ferdinand Georg Waldmüller. Seeking broader horizons, he moved to Paris in 1856. There, he entered the studios of Léon Cogniet and was influenced by the works of Paul Delaroche. These years in France allowed him to bring a specific academic-romantic style back to his homeland.
Madarász became known for his ability to translate Hungarian historical struggles into dramatic visual narratives. He often focused on moments of profound grief or political tension, using the techniques of French Romanticism to reach his audience. His work frequently revisited the heroism and tragedies of the Hungarian people, particularly those resisting Habsburg rule.
Some of his notable works include:
The later years of his life were marked by professional hardship and personal loss. Upon returning to Hungary in 1870, he found that his French-influenced style was met with resistance from a public accustomed to different traditions. Following the harsh reception of his work, he made the difficult decision to retire from painting in 1873 to manage his father's business. This period of transition was not easy; by 1902, his business had gone bankrupt and was sold at auction.
In 1903, a spark of his former passion led him to attempt a return to art, focusing primarily on portraits. While these later works lacked the monumental scale of his earlier historical scenes, they represented a final effort to reclaim his identity as a painter. He lived in Budapest until his death in 1917, during the First World War, passing away at a time when much of his earlier glory had faded from the public eye.
