||Count Karoly Zichy:
Austrian war minister in 1809 and minister of interior 1813-1814.
Count Ferdinand Zichy (son of Karoly): Austrian field-marshal
Count Odon Zichy: Administrator of the county of Veszprem.
Hanged on the 30th September 1948 on orders from a Hungarian
court-marshal for treason.
Count Ferenc Zichy (1811-1894): Secretary of state in the
Szechenyi ministry of 1848. He retired when the revolution broke out
and joined the imperial side. From 1874 to 1880 he was Austrian
ambassador in Constantinople
Count Odon Zichy (II)
(1811-1894): Active in promoting art and industry in the
Austrian-Hungarian Empire and founder of the Oriental Museum in
Count Eugen Zichy (son of Odon II) (born: 1837): Took up his
father's position and traveled to Caucasus and Central Asia - afterwards
writing books about the travels.
Count Ferdinand Zichy (II) (born: 1829): Vice-president of
the Hungarian Stadtholdership. Condemned under the press laws in
1863, elected to the Hungarian Parliament in 1867 and one of the
founders of the Catholic People's Party.
Count Aladar Zichy (son of Ferdinand II) (born: 1864): Also
active in the Catholic People's Party but later to turn to the
Andrassy Constitutional Party.
Count Géza Zichy: The pianist.
Géza Zichy as a young man
Count Mihaly Zichy (born: 1829): Painter who was appointed
imperial court painter in St. Petersburg and accompanied the
imperial Russian family on its travels.
At first he stydying law in Pest from 1842 but at the same time he attended Jakab Marastoni's
Painting school. In Vienna he became Waldmüller's pupil in 1844 and
developed into a major representative of Hungarian romantic painting. He swore allegiance to freedom by painting the portrait
of Lajos Batthány, the first Hungarian prime minister, in 1849 and
from 1850 onwards, he worked as a retoucher, but he also did pencil
drawings, water colours and portraits in oil. On Waldmüller's recommendation, he became an art teacher in St.
Petersburg where he spent most of his life.
The series on the
Gatsina hunting ordered by the Russian tsar raised him to a court
artist. He founded a society to support painters in need. Autodafé
on the horrors of Spanish inquisition was painted in 1868. He
travelled around Europe in 1871, and settled down in Paris in
1874. The Victory of the
Genius of Destruction painted for the Paris Exhibition was
banned by French authorities because of its daring antimilitarist
message. He left Paris in 1881 and returned to St. Petersburg after
a short stay in Vienna and the county Zala. From this time onwards,
he was mostly engaged with illustrations (The Tragedy of Man
by Madách, 1887, and Twenty-four ballads of János Arany,
(1827, Zala - 1906, St. Petersburg)
Some of his pictures have
later given him a somewhat unfavorable reputation due to their motives,
which today would probably be called pornographic. But then Rembrandt
and Matisse could also be very pornographic. It is all a question
of definition. When I studied law at the University in Copenhagen a professor of mine explained the
definition of pornography like this: If you take a picture of a
nude woman from top to heel, it is called art. If you take the picture from heel to heel - its
called pornography. Rembrandt,
Matisse, Boucher and Zichy certainly didn't know that.