Bertalan Székely von Ádámos stands as one of the most significant figures in 19th-century Hungarian art. A master of historical painting and a key proponent of Romanticism and Historicism, Székely's work not only captured pivotal moments in Hungary's past but also played a crucial role in shaping the nation's cultural identity during a period of profound political and social change. His dedication to his craft, his influential role as an educator, and his powerful visual narratives have secured his place as a foundational artist in the canon of Hungarian art history.
Early Life and Formative Years
Born on May 8, 1835, in Kolozsvár, Transylvania (now Cluj-Napoca, Romania), then part of the Habsburg Empire, Bertalan Székely, whose full noble name was Székely von Ádámos és Magyarósi, was destined for a life intertwined with the arts. His early education and artistic inclinations led him to Vienna, the imperial capital and a major artistic hub. Between 1851 and 1855, he honed his skills at the prestigious Academy of Fine Arts in Vienna under the tutelage of notable artists such as Ferdinand Georg Waldmüller, known for his Biedermeier portraits and landscapes, and later, Carl Rahl, a prominent historical painter whose monumental style would leave a mark on many aspiring artists from Central Europe.
These formative years in Vienna exposed Székely to the prevailing artistic currents of the time, including the lingering influence of Neoclassicism, the burgeoning Romantic movement, and the academic precision demanded by historical painting. He also spent time in Munich, another critical center for artistic training, where he likely encountered the work and influence of Karl von Piloty, a leading exponent of historical realism whose grand canvases depicting dramatic historical scenes were highly influential across Europe. This period of study and travel was crucial in shaping Székely's technical abilities and his thematic interests, particularly his growing passion for depicting scenes from Hungarian history.
The Rise of a National Painter
Returning to Hungary, Székely embarked on a career that would see him become a leading voice in the national artistic awakening. The mid-19th century was a period of intense national consciousness in Hungary, particularly following the suppressed Revolution of 1848. Art became a vital medium for expressing national aspirations, commemorating historical glories, and fostering a sense of shared identity. Székely's commitment to these ideals was evident in his choice of subjects and the emotional intensity he brought to his canvases.
His style is best characterized as a blend of Romanticism and Historicism. Romanticism, with its emphasis on emotion, individualism, and the glorification of the past and nature, provided the dramatic and expressive force in his work. Historicism, the artistic and architectural movement that drew inspiration from recreating historic styles, lent his paintings a sense of authenticity and gravitas, achieved through meticulous research into historical costumes, settings, and events. Székely was not merely illustrating history; he was interpreting it, imbuing his scenes with patriotic fervor and often a sense of tragic grandeur.
Masterpieces of Hungarian History
Bertalan Székely's reputation rests heavily on his powerful historical compositions, which often depicted dramatic and defining moments from Hungary's past, particularly its struggles for independence and survival. Among his most celebrated works is The Discovery of the Body of King Louis II after the Battle of Mohács (1860). This painting portrays the grim aftermath of the disastrous Battle of Mohács in 1526, where the Hungarian forces were decisively defeated by the Ottoman Empire, leading to the death of the young king and the subsequent partition and subjugation of much of Hungary. Székely masterfully captures the somber mood, the grief of the loyal followers, and the tragic weight of the historical moment. The painting became an iconic representation of national loss and a turning point in Hungarian history.
Another significant work, The Women of Eger (1867), celebrates Hungarian heroism and resilience. It depicts the legendary defense of Eger Castle in 1552, where a small garrison, famously aided by the town's women, successfully repelled a vastly superior Ottoman army. Székely focuses on the courage and determination of the women, transforming them into symbols of national fortitude. The painting resonated deeply with contemporary audiences, offering an inspiring narrative of defiance and unity.
His painting Mihály Dobozy and His Wife (1861) is a poignant portrayal of love, sacrifice, and tragedy set against the backdrop of the Ottoman wars. The legend tells of Dobozy, a Hungarian nobleman, who, facing capture by the Turks after the Battle of Mohács, kills his wife at her request to save her from dishonor, before fighting to his own death. Székely’s composition is filled with dramatic tension and emotional depth, highlighting the personal costs of national conflict. This work, like many others, drew upon Hungarian folklore and historical chronicles, further embedding his art within the national consciousness.
Székely also tackled other significant historical themes. The Battle of Mohács itself was a subject he returned to, emphasizing the chaos and valor of the conflict. Later in his career, he worked on monumental projects, including the Vérszerződés (Blood Contract), depicting the legendary pact made by the seven Magyar chieftains upon their arrival in the Carpathian Basin, a foundational myth of the Hungarian nation. This work, intended for the Hungarian Parliament Building, underscores his commitment to grand national narratives.
Beyond Grand Narratives: Portraits, Genre Scenes, and Murals
While best known for his historical epics, Bertalan Székely was a versatile artist who also excelled in other genres. He produced numerous portraits, capturing the likenesses of prominent figures of his time as well as more intimate studies. These portraits often reveal a psychological depth and a sensitivity to character that complements the dramatic flair of his historical works.
His genre scenes, though fewer in number, offer glimpses into contemporary life and more personal themes. A menyasszony (The Bride, 1869-1871) is a tender and beautifully rendered depiction of a young woman on her wedding day, showcasing Székely's skill in capturing subtle emotions and intricate details of costume and setting. Another intriguing work, The Japanese Woman (1870s), reflects the growing European fascination with Japanese art and culture (Japonisme) during this period, demonstrating Székely's awareness of broader artistic trends. This painting, with its delicate rendering and exotic subject, stands in contrast to his more robust historical canvases but highlights his adaptability and artistic curiosity.
Székely was also a highly accomplished muralist. He contributed significantly to the decoration of important public and religious buildings, further cementing his status as a national artist. His frescoes can be found in the Matthias Church in Budapest, a historically significant site, where he depicted scenes from the life of Saint Ladislaus. He also created murals for the Vigadó Concert Hall in Pest and the Kecskemét Town Hall, among others. These large-scale works allowed him to explore historical and allegorical themes in a monumental format, reaching a wide public audience and integrating his art into the very fabric of Hungarian civic and religious life. His work in this field can be seen in dialogue with other great muralists of the era, such as his contemporary and sometimes teacher, Károly Lotz, who was also renowned for his decorative schemes in Budapest.
The Educator and His Influence
Bertalan Székely's contribution to Hungarian art extended beyond his own prolific output. He was a highly respected and influential teacher. From 1871, he served as a professor at the Hungarian Royal Drawing School (later the Hungarian University of Fine Arts) in Budapest, and from 1902 until 1905, he was its director. Through his teaching, he shaped a generation of Hungarian artists, instilling in them the technical rigor of academic training while also encouraging their individual artistic development.
Among his notable students were Philip Alexius de László, who would go on to become an internationally acclaimed portrait painter, particularly favored by European royalty and aristocracy. Another student, Iván Grünwald (Béla), became a prominent figure in the Nagybánya artists' colony, which played a crucial role in introducing modern art movements to Hungary. Székely's pedagogical approach, which combined academic discipline with an appreciation for national themes, had a lasting impact on the trajectory of Hungarian art. His dedication to art education helped to professionalize the artistic field in Hungary and to foster a vibrant national art scene.
Székely in the Context of European Art
Bertalan Székely's work, while deeply rooted in Hungarian national concerns, should also be understood within the broader context of 19th-century European art. Historical painting was a dominant genre across the continent, with artists in many nations using historical narratives to explore themes of identity, heroism, and political aspiration. Székely's counterparts in other countries included artists like Jean-Léon Gérôme in France, whose meticulously detailed historical and Orientalist scenes were widely admired, and Jan Matejko in Poland, whose monumental canvases depicted key moments in Polish history with a similar patriotic fervor.
In Germany, artists like Karl von Piloty, at the Munich Academy, were training a generation of historical painters. In Russia, artists such as Vasily Surikov and Ilya Repin were creating powerful historical epics that resonated with Russian national identity. Even in Britain, painters like Lawrence Alma-Tadema, though Dutch by birth, achieved fame with his romanticized depictions of classical antiquity. Székely's engagement with historical themes and his Romantic-Historicist style placed him firmly within this international movement, even as his subject matter remained intensely Hungarian. His training in Vienna and Munich ensured that he was well-versed in the technical and stylistic conventions of European academic art, which he then adapted to his own national context.
His contemporary Hungarian artists, such as Mihály Munkácsy, who achieved international fame with his dramatic genre scenes and biblical paintings, and Gyula Benczúr, another prominent historical painter, shared Székely's commitment to elevating Hungarian art on the European stage. While Munkácsy's path led him more towards realism and dramatic genre painting, and Benczúr often focused on more opulent and ceremonial historical scenes, Székely remained a steadfast champion of national Romantic historical painting, often imbued with a sense of solemnity and tragic grandeur. The influence of earlier Romantic painters, such as Théodore Géricault or Eugène Delacroix from France, can also be discerned in the dynamism and emotional intensity of some of Székely's compositions.
Later Years and Enduring Legacy
Bertalan Székely continued to paint and teach into the early 20th century, remaining a revered figure in Hungarian cultural life. He passed away in Budapest on August 21, 1910. By the time of his death, new artistic movements, such as Impressionism and various avant-garde trends, were beginning to take hold in Hungary, partly through the efforts of artists like Pál Szinyei Merse, who pioneered plein-air painting in Hungary, and the artists of the Nagybánya colony. However, Székely's contribution remained undeniable.
His legacy is multifaceted. As a painter, he created some of the most iconic images in Hungarian art, works that continue to be reproduced and admired for their artistic merit and their historical resonance. His paintings helped to define a national visual language, providing Hungarians with powerful symbols of their past and their identity. As an educator, he played a pivotal role in training future generations of artists and in establishing a strong foundation for art education in Hungary.
Today, Bertalan Székely von Ádámos is celebrated as one of the founding fathers of modern Hungarian art. His works are prominently displayed in the Hungarian National Gallery in Budapest and other major collections. His dedication to historical accuracy, combined with his Romantic sensibility and his profound patriotism, ensured that his art transcended mere illustration to become a powerful expression of the Hungarian national spirit. His influence can be seen not only in the work of his direct pupils but also in the continued importance of historical themes in Hungarian art and culture. He remains a testament to the power of art to shape and reflect a nation's soul.
