Ivan Fedorovich Choultsé (1874–1939) was a distinguished Russian landscape painter renowned for his mastery of light effects, snow textures, and atmospheric realism. Born in Saint Petersburg to a family of German origin (Schultze), Choultsé’s artistic journey began unexpectedly after an initial career in electrical engineering. His transition to art, marked by mentorship under prominent Russian painters, culminated in a style that earned him the nickname “the magician of light” and recognition from the Romanov dynasty.

Choultsé’s early years were shaped by his family’s German heritage and his initial pursuit of engineering. Though his early sketches were casual, financial struggles during an engineering project in Finland led him to seek formal artistic training at age thirty. His talent was recognized by Konstantin Yakovlevich Kryzhitsky, a member of the Imperial Academy of Arts, who invited him to study. Choultsé’s artistic foundation was further shaped by Arkhip Kuindzhi, known for dramatic lighting, and Swiss painter Alexander Calame, whose Alpine landscapes influenced his approach to topography.

Choultsé’s pivotal artistic experiences included a 1910 expedition to Spitzbergen with Kryzhitsky, where he painted Arctic landscapes that deepened his ability to depict harsh environments and light interplay. After Kryzhitsky’s suicide in 1911 and Kuindzhi’s death in 1910, Choultsé developed a distinct style blending academic rigor with experimental light effects. His works gained prominence through exhibitions in Saint Petersburg, including those hosted by Grand Duchess Olga Alexandrovna. By 1916, his paintings were sought after by members of the Romanov family, including Grand Duke Mikhail Alexandrovich and Carl Fabergé.

The 1917 Bolshevik Revolution disrupted Choultsé’s trajectory as his adherence to realism clashed with the new regime’s push for socialist art. Initially emigrating to France in 1919, he briefly returned to Russia in 1921 before permanently relocating to Paris by 1923 due to the untenable political climate.

In France, Choultsé achieved remarkable success. His 1923 debut at the Salon des Artistes Français earned him prominence among Parisian artists. His first solo exhibition at Galeries Gerald Frères sold out on opening day, a feat repeated in London. Critics marveled at his ability to render snow textures and light glare, with the London Times praising his “phantasmagoric” landscapes. Choultsé’s travels across Europe, Asia, North Africa, and the Arctic expanded his thematic range, though he continued to depict Russian scenes, with particular fascination for Switzerland’s Engadine region and St. Moritz in winter.

Choultsé’s realism stood out against avant-garde trends, emphasizing meticulous observation of natural phenomena. His snowscapes showcased unparalleled texture and luminosity, while sea views captured the dance of sunlight and moonlight on water. His engineering background may have informed his analytical approach to light and shadow, transforming ordinary scenes into visually compelling narratives.