10月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 15点の Viktor Madarászの作品がカタログにあります
要約すると
Viktor Madarászの作品として最も有名なものといえば、おそらくブダペストのハンガリー国立美術館に展示されているDobozi and his Spouse (1868)でしょう。 The Exile's Dream (1856)とFelicián Zách (1858)が、人々がすぐにそれと分かる3つの作品を完成させています。 Viktor Madarászによる作品は、当カタログに15点あります。以下に、最もよく知られている14作品を、制作年、所蔵先、およびその特徴とともにご紹介します。
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…
このページに掲載されている絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | Viktor Madarászの作品 | このリストの絵画 |
|---|---|---|---|
 ハンガリー国立美術館 |
ブダペスト | 12 | Dobozi and his Spouse, The Exile's Dream, Felicián Zách |
年代を選択して、その時代の代表作をご覧ください。
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…
リストのトップはハンガリー国立美術館, ブダペストのDobozi and his Spouse (1868)です。それに続くのはThe Exile's Dream (1856)、そしてFelicián Zách (1858)です。
38歳。Viktor Madarászは1830に生まれ、Dobozi and his Spouseは1868年の作品です。
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 と His Wife。制作年および所蔵美術館については、上記のリストをご参照ください。
当カタログにはViktor Madarászによる作品が15点あり、制作時期は1856から1873にわたります。
その多くはハンガリー国立美術館 (ブダペスト)で見ることができます。上記の美術館リストに詳細が記載されています。
1850sは、他のどの時期よりも多くの作品が集中しています。このページにある全14点のうち6点がその時代の作品であり、そのうちThe Exile's Dream点が含まれます。
ここにある最も古い作品はThe Exile's Dream (1856)、最新の作品はMiklós Izsó (1873)です。
ハンガリー国立美術館, ブダペストにあるDobozi and his Spouse, The Exile's Dream と Felicián Záchを含む12点の作品を、このページでご覧いただけます。
はい。このページに掲載されているすべての絵画は、お手持ちのスペースに合わせたサイズで、手描きの油彩複製画またはプリントとしてご購入いただけます。作品のページを開いてご注文ください。
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.
