An oil on panel measuring 55X46 cm (without the frame) representing Venice signed and dated 1926
Nicolas Millioti was born on 16 January 1874 in Moscow in a family of Greek origin. He also had family ties with: Morozovy, Alexeyev and Korcha. He spent his summer holidays with his brothers in the Muscovite property of Prince Golitsin Kouizminka.
He finished high school in Moscow, then from 1894 to 1900 attended the School of Painting, Sculpture and Architecture of Moscow, the courses of Abram Arkhipov, Leonid Pasternak and Valentin Serov. He also frequented Constantin Korovin's private studio. From 1900, the exhibitions of Russian painters ceased to be international and were marked by a more individual character: on the one hand, the Flemish school was distinguished by the importance of form and, on the other, Moscow gave primacy to color. That of St. Petersburg included Alexandre Benois, Yevgeny Alexandrovitch Lanceray, Leon Bakst. In the Moscow group the newcomers were Igor Grabar, Pavel Kuznetsov, Piotr Savvitch Outkine, Nikolai Sapunov, Nicolas Milliouti and his brother Vassili Millioti. Victor Borissov-Moussatov, symbolist painter par excellence, was the only one to combine the characteristics of the two schools, the differences of which were accentuated over the years.
In 1898 he entered the Faculty of Philology and History of the Moscow State University and then completed his studies at the Sorbonne in Paris. There he was interested for some time at the Academy Julian met Jean-Paul Laurens, and James Abbott McNeill Whistler.
N. Millioti by Boris Kustodiev in 1916
During the years that followed 1900, he painted a series of symbolist works with the subject as dream, but also gallant scenes. He contributed to the magazine "La Toison d'or" and participated in exhibitions. His paintings are often allegorical images of angels, mirages, magic, and close to abstract ornamentation.
In April 1907, with his brother Vassili, he was one of the organizers of the "Blue Rose" Muscovite exhibition. In 1910 he left the "Union of Russian painters" at the same time as the group of Alexander Nikolayevich Benois and was among the founders of the artistic group "Mir iskousstva" ("the world of art"), and from 1912 to 1916, he joined the organizing committee.
During the First World War he was mobilized as an artillery sign and took part in military actions in the Carpathians as adjutant to General Radko Dimitriev; He was wounded twice and was decorated for his actions.
In June 1917, at the request of a series of prominent figures in the cultural life of Moscow, he was among the 23 artists who were freed from their military obligations and demobilized. In 1918 he moved to Yalta, where he worked as president of the Commission for the Protection of Artistic Wealth of the Crimea, where he met Sergey Makovsky, Ivan Bilibin, Maximilian Voloshin, Sergey Elpatyevsky and others.
In 1920 he emigrated first to Sofia in Bulgaria where Tsar Boris III came to visit his studio, then in 1921 and 1922 he worked in Berlin. In 1923 he left for Paris, where Paul Valery, Rainer Maria Rilke, André Maurois, came to visit his studio at the Place de la Sorbonne. At that time, together with Nathalie Gontcharoff, they staged a puppet show at the Théâtre du Vieux-Colombier: the "Theater des comédiens de bois" (directed by Sazonova-Slonimska and Michel Larionov, music by N. N. Tcherepina, 1924). He created the decoration and costumes of the show Princess Lent of Lessage (1925).
In 1925 he traveled to America, then to Europe: Italy, Spain, Holland and Germany. From 1929 to 1930 he taught in Paris. In 1931 he became a member of the board of directors of the Union of Russian Artists in France, and from 1933 he became a member of the painting section attached to this union. One of his pupils in Paris was Leonide Ouspensky. During the 1930s, the work of portraits predominated in his work: (Alexander Nikolayevich Benois, writer Nadejda Teffi, Tatyana Sukhotina-Tolstaya, Fedor Chaliapine). In 1938 the French State acquired its self-portrait. On several occasions he offered his paintings as prizes for lotteries designed to help the Committee for Aid to Russian Artists and Scientists, the Muscovite Association, and others.