The natural aptitude of Montichelli manifested itself at an early age. Studying in the School of Fine Arts in Marseille, he gained high prizes for his works. He continued his study in Paris, in the workshops of a trendy and famous Paul Delaroche; however, truly he studied in the lounges of Louvre copying Rembrandt, Veronese and Watteau. From among the contemporaries, the closest to him was Delacroix who also praised the talent of the young artist. 

The romantic image of perception, originality of picturesque manner resembling a festive identity of old Venetian masters by its sparkling had a short-lived success in Paris. The biographer reported that with the outbreak of the Franco-Prussian war in 1870 Montichelli leaves Paris forever and reaches Marseille on foot. 

The last period of life in his native country turned out to be the most difficult. Not understandable, he was doomed to humiliating poverty.

 Anticipating a meeting with Montichelli, Vincent Van Gogh came to Marseille but failed to find him alive. In his letter, Van Gogh devoted many enthusiastic lines to Montichelli. Paul Cezanne who worked together with Montichelli in Aix and in L’Estaque in 1878 couldn’t escape his influences. The first personalized exhibition of Montichelli took place in Paris autumn Salon of 1908, more than 20 years after the death of the artist. The 20th century that recognized the right of a creative personality to the freedom of expression opened up the painting of Montichelli. In his creativity one could discern the pre-echo of new trends in painting: impressionism, expressionism and fauvism.

The painting Surroundings of Paris differs from the works of other French landscapers whose paintings turned out to be in the collection of the founder of the Radishchev Museum. Though Montichelli worked in the surroundings of Paris together with artists of Barbizon school who valued trustworthiness in painting, he perceives the real motive only as a pretext for a loose creative improvisation. The principal actor here is special silver light of the cloudy autumn sky. 

It penetrates everywhere, predominates and jubilates. It rests on the ground with bright reflections and surrounds the figures with a precious halo. In support, the entire foreground of the picture is painted in the same light colors. A fairly prosaic motive where one may discern both an ugly small shed and peacefully walking hens gains a lofty and festive tone. In literature, one provides a case when Montichelli together with his friend painted a rainy landscape and, to the surprise of the acquaintances, ‘showed a picture streaming with sun’. He worked extremely fast, without any pre-drawing. With hasty nervous strokes he put the paint — with a brush, spatula and sometimes with a finger. Montichelli attains an impression of sparking colors in his painting. The master didn’t touch with his brush many parts of the board on which the picture was painted; and a deep seemingly velvet dark-brown tone of the tree actively participates in the painting thus creating a warm deep background for silver paints.