Bela, whose real name is Adalbert, was born in Osijek on January 27, 1864, as the second son of Peter Čikoš and Justina, nee Modesti. His father was a military commander, a knight of Sesije, who earned that title for his military merits. The Čikoš family moved frequently, as demanded by his father’s profession; Osijek, Bjelovar, Trieste, Koszeg (Hungary), and finally Karlovac. In these cities, Bela received a proper education. Following his father’s military career, he successfully completed military and cadet school.
Self-portrait
He developed a love for art from his early days, although rather quietly. Not much of his early works have been preserved, only a few sketches and notes indicating that he “enjoyed drawing”. Nonetheless, during that time, he created one valuable painting: Park in Darda, oil on wood. Painted when he was twenty years old, it already hinted at the future master of the brush with a great sense of detail.
In Vienna
Leaving the barracks and military life, Bela Čikoš arrived in Vienna in the autumn of 1887.
I am in Vienna, right in front of the grand building of the Academy of Fine Arts – General School of Painting. He did not have any certificates, diplomas, or recommendations from the studio of a famous painter, which was one of the first requirements for admission to the Academy. He was actually self-taught and without any prior knowledge, therefore without a realistic possibility of enrolling in this strict and highly prestigious educational institution. In addition, he exceeded the age limit for student enrollment as prescribed by the Academy’s statutes. However, his strong desire to study painting clearly radiated from him, because how else could we explain that he managed to enroll solely based on his persistent insistence.
From the very first days at the Academy, he enthusiastically devoted himself to day and night work, and was initially noticed for his exceptional diligence. He painted much more than was required of him, not only on assigned topics in the classroom.
During Čikoš’s studies in Vienna, numerous valuable paintings were created, among which the one depicting Odysseus killing the suitors is particularly notable. Prices: Odysseus kills the suitors, Egyptian woman, Rebekah at the well, Rebekah and the old man at the well, The Great Flood. It should also be added that his studies of details, preparatory sketches, and drawings that he painstakingly crafted were later considered highly valuable, just like his great and complex works. After completing the Vienna Academy, Čikoš decided to specialize in historical painting in Munich for two years. It was then that his famous painting Judith and Holofernes was created, which was immediately declared a masterpiece. A journey where he travels through cities and museums, studying classics.
He painted allegories on universal human themes through dramatic scenes from mythology and classical history. In addition, he was one of the first in Croatia to use color symbolism, which led art historians to proclaim him as the founder of symbolism in our country.
Čikoš’s mature years
During his exhibitions, Čikoš received several awards. During the exhibition in Budapest in 1896, the Hungarian government purchased his painting “Kirke” and awarded him the Great Millennium Medal. At the famous “Millennium Exhibition” in Paris in 1900, a family from Petrograd bought all of his paintings. “Croatian chambers,” among which were also Čikoš’s works. Demiji never left painting, selflessly teaching the youth.
Triumph of Innocence.
Psyche.
Psyche.
From Čikoš’s rich opus, one painting stands out with its refinement of execution and idea. The theme and composition are original and, as far as we know, unique, so Psyche is considered by some to be his boldest work.
Psyche is considered important for understanding Čikoš’s personality, so it is often used as a synonym for his entire artistic work. Executed in oil on canvas, measuring 74.3 x 56 cm, it depicts two female figures representing the goddesses Athena and Psyche.
The painting was created using a special technique that Čikoš had used before: the entire scene was formed by short, equal brushstrokes, hatching. Soft and pale shades of blue were chosen, creating a flickering, hazy, and mysterious atmosphere. The composition is dynamic, but because of the fluidity it exudes, everything appears calming.
Psyche hides an allegorical message: purified and free. The soul (Psyche) strives for divine wisdom (Athena). In every aspect, Čikoša was tormented by the eternal human desire to reach the unreachable and comprehend the incomprehensible, which can only be accomplished through artistic intuition.
Perhaps following such claims, we can understand Psyche as the amalgamation of Čikoša’s life aspirations, while also being the fulfillment of those very aspirations, his ultimate artistic and intimate human sanctuary.