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Hans Makart

Vienna visited his studio like a museum and made his name the label of an era. Hans Makart, painter of the grand entrance.


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Hans Makart

Vienna visited his studio like a museum and made his name the label of an era. Hans Makart, painter of the grand entrance. more about the artist
Austria · 1840–1884 · Romanticism, Orientalistische Malerei · 228 artworks found
Hans Makart
1840–1884
BornMay 18, 1840 (Salzburg)
DiedOctober 3, 1884 (Wien) at the age of 44
NationalityAustria
EpochsRomanticism, Orientalistische Malerei
Genrehistory painting, still life, landscape, portrait
Professionpainter, teacher, architectural drafter
Family
Father: Johann Baptist Alois Makart
Mother: Katharina Makart
Spouse: Bertha Linda
Child: Hans Makart junior
TeacherJohann Fischbach
StudentKonstanty Mańkowski, Gottlob Knapp, Hans Bulhardt
Notable worksDer Einzug Karls V. in Antwerpen (Hamburger Kunsthalle) (1878), Portrait der Helene von Racowitza (1873), Kleopatra (1874), Charlotte Wolter as Messalina (1875), Clothilde Beer (1880)
MuseumsBelvedere (Oesterreichische Galerie), Wien Museum, Kunsthistorisches Museum Wien, Staedtische Galerie im Lenbachhaus, Staatliche Museen zu Berlin

Hans Makart

In the 1870s, a painter's studio ranked among Vienna's sights. Every afternoon between three and five, the studio at Gusshausstrasse 25 opened its doors to visitors; travelers made it a fixed part of their itinerary, Empress Elisabeth came in the autumn of 1872, and from 1873 the legendary studio parties were added to the attraction. The man who drew these crowds was Hans Makart, an Austrian history and decorative painter. In 1872, he had spent 127,000 guilders on tapestries, antiquities, weapons, carpets, and palms; those who entered found themselves not so much in a workshop as in a painting they could walk through, with its master working before an audience at the center.

The path there began in Salzburg. Makart was born on May 28, 1840, on the first floor of the Old Residence; a brief period of study at the Vienna Academy from 1858 proved unsuccessful, and around 1860/61 he became a pupil of Karl Theodor von Piloty in Munich. Travels to London, Paris, and Italy followed. In March 1869, Emperor Franz Joseph I brought the twenty-eight-year-old from Rome to Vienna and had a state studio set up for him; the Emperor had already purchased one of his paintings.

What emerged from this studio was rarely made to fit a room. A taste for the exotic runs throughout Makart's work; paintings such as “The Harem” and “A Japanese Woman” announce it in their very titles. In the winter of 1875/76, Makart traveled to Egypt with two fellow painters; “The Nile Hunt” also dates from this period. In the 1870s, he designed five pictures of the senses for a private apartment on the Parkring, each 314 centimeters high and only 70 wide, narrow wall panels intended for the strips between the windows. “The Five Senses: Sight” shows a young woman raising a hand mirror to her face; behind her, a dark palm frond fans out, roses bloom at the edge, and the narrow format forces her body into a turn of effortless elegance. The five paintings never reached the apartment; in 1901, they entered public ownership through Galerie Miethke and today hang in the Upper Belvedere.

Vienna cherishes its habits, and the curiosity of those days has found a successor: the city that once came in the afternoon to watch Makart paint now views his paintings close up through cameras. Much of the image data used by Meisterdrucke in Austria to produce his art prints comes from these high-resolution scans by the Belvedere and the Wien Museum, along with the Kunsthistorisches Museum. For a painter whose effect lies in materiality, in brocade, cascades of flowers, and shimmering skin, this is a fitting custom; the images carry the finest trace of the brush into the print.

Makart made his grandest appearance on canvas in 1878. After a journey to Flanders for the 300th anniversary of the birth of the Flemish painter Rubens, he painted “The Entrance of Emperor Charles V into Antwerp in 1520, 1878,” more than nine meters wide and over five meters high. The young emperor rides in armor through the decorated city, banners and flowers fall from the houses, and directly at his horse's feet, barely veiled, walk the maidens of honor from the historic entry; Albrecht Dürer had described them as an eyewitness in 1520. The scandal was calculated, contemporaries claimed to recognize prominent Viennese women among the nudes, and the gamble paid off: Paris awarded the painting a gold medal at the 1878 World's Fair, and in 1882 the Hamburger Kunsthalle purchased the “Entry” for 130,000 marks. There, the giant disappeared behind a plaster wall and remained hidden until 2016; it has been freely displayed again only since 2020.

On April 27, 1879, Vienna demonstrated what it had in this painter. To mark the imperial couple's silver wedding anniversary, a ceremonial procession moved along the Ringstrasse, with 14,000 participants in Renaissance costume, every group dressed to Makart's designs, again after Dürer: this time after his printed sheets for the Triumphal Arch of Emperor Maximilian I. The painter himself rode in the procession, dressed in dark blue velvet and a broad, feathered hat, on a richly caparisoned horse, and the city gave the celebration his name; from then on, it was known as the Makart Procession. His name became a label in general; Makart style meant plush, heavy wall hangings, and massive chandeliers, a Makart bouquet was an arrangement of dried flowers, palm fronds, and grasses, and a Makart hat had a broad brim with a feather.

In February 1881, Makart received his last major commission, the ceiling painting for the staircase of the Kunsthistorisches Museum. The only part he completed was the color sketch “Victory of Light over Darkness,” now in the Belvedere. In it, Helios rises with his four-horse chariot from blazing yellow light, the horses surge diagonally out of the brightness, luminous figures in veils hover above, and dark bodies plunge headfirst into the chasms of cloud below; the entire vault is conceived as a single upward pull. He never executed the ceiling itself; a brain disease took the work from his hands, and Vienna lost Hans Makart on October 3, 1884, at only forty-four years of age. For two days, his coffin lay in state among the tapestries and palms of Gusshausstrasse before he was carried out to an honorary grave at Vienna Central Cemetery.

Artworks by Hans Makart

228 artworks found
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Hans Makart
The Entrance of Emperor Charles ...
1878 | oil on canvas

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Hans Makart
The Harem,
Undated | oil on canvas

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Hans Makart
A Japanese Woman, c. 1870
Undated |

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Hans Makart
Die fünf Sinne: Das Gesicht
Undated | oil on canvas

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Hans Makart
Portrait of a Woman', 1870s-1880s.
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Hans Makart
Der Sommer
1880 | painting

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Hans Makart
Die Niljagd
Undated | oil on canvas

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Hans Makart
Cleopatra, 1875
1875 | oil on canvas

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Hans Makart
Treasures of the Sea, c. 187075.
Undated |

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Hans Makart
Treasures of the Sea, 1865?80
1865 | oil on canvas

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Hans Makart
The death of Count Pappenheim, G...
Undated |

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Hans Makart
""La mort de Cleopatre"" (The De...
1875 |

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Hans Makart
Die Versenkung des Nibelungenhor...
1882 | oil on canvas

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Hans Makart
Lady in white … (painting on can...
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Hans Makart
 
1881 | painting

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Hans Makart
Entry of Emperor Karl V in Antwe...
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Hans Makart
Amalie Makart, first wife of the...
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Hans Makart
The Hunt of Diana, study, 1879.
1879 | oil painting

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Hans Makart
The sinking of the Nibelungen Ho...
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Hans Makart
Karoline Gomperz, nee Bettelheim...
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Hans Makart
Musikalische Unterhaltung
1874 | Oil on panel

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Hans Makart
Study for The Entrance of Empero...
Undated | oil on canvas

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Hans Makart
 
1881 | painting

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Hans Makart
Antike Opferszene
Undated | oil on canvas

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Hans Makart
Hans Makart - Flora
1870 |

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Hans Makart
 
1881 | painting

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Hans Makart
 
1881 | Unknown

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Hans Makart
Actress Charlotte Wolter as Mess...
Undated |

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Hans Makart
Design for Theater Curtain A Mid...
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Hans Makart
Die fünf Sinne: Das Gehör
Undated | oil on canvas

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Hans Makart
Ruhende Bacchantin
1863 | oil on canvas

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Hans Makart
 
1870 | oil on canvas

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Hans Makart
Der Sieg des Lichtes über die Fi...
Undated | oil on canvas

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Hans Makart
Bildnis einer stehenden Dame in...
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Hans Makart
Queen Titania and the donkey (pa...
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Hans Makart
Dante und Vergil im Inferno
Undated | oil on canvas

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Hans Makart
 
1881 | painting

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Hans Makart
Self-portrait in front of the ea...
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Hans Makart
Triumphzug eines Römers
50 | painting

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Hans Makart
 
undatiert | oil on canvas

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Hans Makart
Portrait of a Lady Wearing a Whi...
Undated | oil on panel

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Hans Makart
 
1881 | painting

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Hans Makart
Skizze zu einem Dome in Renaissa...
1884 | oil on canvas

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Hans Makart
Ida and Risa Ruessemayer, nieces...
Undated |

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Hans Makart
Portrait Henriette Mankiewicz
1877 | Oil on panel

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Hans Makart
Procession of homage in honour o...
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Hans Makart
Porträt Eugenie Scheuffelen
Undated | oil on canvas

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Hans Makart
Touch - from the series Die fuen...
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Hans Makart
Anna von Waldberg … (painting on...
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Hans Makart
Bacchus und Ariadne
Undated | oil on canvas

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Hans Makart
Der Triumph der Ariadne (oil on ...
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Hans Makart
Modern Amoretti, Triptych, centr...
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Hans Makart
Falconer by Hans Makart (1840-18...
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Hans Makart
Self-portrait … (painting on can...
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Hans Makart
Amalie Makart, nee Rothmayr, the...
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Hans Makart
Portrait of a lady with feather-...
1875 |

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Hans Makart
 
1870 | oil on canvas

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Hans Makart
Hans Makart Triumphzug der Diana...
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Hans Makart
Modern Amoretti, Triptych, right...
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Hans Makart
Sleeping Snow white … (painting ...
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Hans Makart
Gotische Grabkirche St. Michael,...
Undated | Oil on canvas with collaged reproduction

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Hans Makart
Magdalena PlachnEnglish: Portra...
1870 |

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Hans Makart
Japanese girl
Undated | oil on canvas

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Hans Makart
 
1881 | painting

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Hans Makart
Faun and Nymph … (painting on ca...
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Hans Makart
Taste - from the series Die fuen...
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Hans Makart
Snow white receives the poisoned...
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Hans Makart
Design for the Jubilee Processio...
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Hans Makart
Gomperz, Karoline, geb. Bettelheim.
1870 | painting

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Hans Makart
Hearing - from the series Die fu...
Undated |

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Hans Makart
 
1882 | print

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Hans Makart
 
Undated |

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Hans Makart
German: Nero beim Brand von Rom
1865 |

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Hans Makart
Dekorationsentwurf für das Schla...
Undated | oil on canvas

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Hans Makart
 
1881 | painting

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Hans Makart
A Midsummernight's Dream … (pain...
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Hans Makart
Harvest … (painting on canvas)
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Hans Makart
The sinking of the Nibelung trea...
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Hans Makart
Die Falknerin
1880 | oil on canvas

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Hans Makart
 
1881 | painting

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Hans Makart
The Mermaids and the Tiger, 1872...
Undated | oil on canvas

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Hans Makart
 
1865 | Oil on panel

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Hans Makart
Hanna Klinkosch, a well-known me...
Undated |

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Hans Makart
Farbskizze zum Plafond "Die vier...
Undated | oil on wood

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Hans Makart
 
1881 |

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Hans Makart
Portrait assis de la comtesse Ga...
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Hans Makart
Raphael, Italian Renaissance art...
1880 |

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Hans Makart
Gambrinus, c. 1875.
Undated |

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Hans Makart
Die Jagdburg
Undated | canvas

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Page 1 / 3

About the artist

Hans Makart
1840–1884
BornMay 18, 1840 (Salzburg)
DiedOctober 3, 1884 (Wien) at the age of 44
NationalityAustria
EpochsRomanticism, Orientalistische Malerei
Genrehistory painting, still life, landscape, portrait
Professionpainter, teacher, architectural drafter
Family
Father: Johann Baptist Alois Makart
Mother: Katharina Makart
Spouse: Bertha Linda
Child: Hans Makart junior
TeacherJohann Fischbach
StudentKonstanty Mańkowski, Gottlob Knapp, Hans Bulhardt
Notable worksDer Einzug Karls V. in Antwerpen (Hamburger Kunsthalle) (1878), Portrait der Helene von Racowitza (1873), Kleopatra (1874), Charlotte Wolter as Messalina (1875), Clothilde Beer (1880)
MuseumsBelvedere (Oesterreichische Galerie), Wien Museum, Kunsthistorisches Museum Wien, Staedtische Galerie im Lenbachhaus, Staatliche Museen zu Berlin

In the 1870s, a painter's studio ranked among Vienna's sights. Every afternoon between three and five, the studio at Gusshausstrasse 25 opened its doors to visitors; travelers made it a fixed part of their itinerary, Empress Elisabeth came in the autumn of 1872, and from 1873 the legendary studio parties were added to the attraction. The man who drew these crowds was Hans Makart, an Austrian history and decorative painter. In 1872, he had spent 127,000 guilders on tapestries, antiquities, weapons, carpets, and palms; those who entered found themselves not so much in a workshop as in a painting they could walk through, with its master working before an audience at the center.

The path there began in Salzburg. Makart was born on May 28, 1840, on the first floor of the Old Residence; a brief period of study at the Vienna Academy from 1858 proved unsuccessful, and around 1860/61 he became a pupil of Karl Theodor von Piloty in Munich. Travels to London, Paris, and Italy followed. In March 1869, Emperor Franz Joseph I brought the twenty-eight-year-old from Rome to Vienna and had a state studio set up for him; the Emperor had already purchased one of his paintings.

What emerged from this studio was rarely made to fit a room. A taste for the exotic runs throughout Makart's work; paintings such as “The Harem” and “A Japanese Woman” announce it in their very titles. In the winter of 1875/76, Makart traveled to Egypt with two fellow painters; “The Nile Hunt” also dates from this period. In the 1870s, he designed five pictures of the senses for a private apartment on the Parkring, each 314 centimeters high and only 70 wide, narrow wall panels intended for the strips between the windows. “The Five Senses: Sight” shows a young woman raising a hand mirror to her face; behind her, a dark palm frond fans out, roses bloom at the edge, and the narrow format forces her body into a turn of effortless elegance. The five paintings never reached the apartment; in 1901, they entered public ownership through Galerie Miethke and today hang in the Upper Belvedere.

Vienna cherishes its habits, and the curiosity of those days has found a successor: the city that once came in the afternoon to watch Makart paint now views his paintings close up through cameras. Much of the image data used by Meisterdrucke in Austria to produce his art prints comes from these high-resolution scans by the Belvedere and the Wien Museum, along with the Kunsthistorisches Museum. For a painter whose effect lies in materiality, in brocade, cascades of flowers, and shimmering skin, this is a fitting custom; the images carry the finest trace of the brush into the print.

Makart made his grandest appearance on canvas in 1878. After a journey to Flanders for the 300th anniversary of the birth of the Flemish painter Rubens, he painted “The Entrance of Emperor Charles V into Antwerp in 1520, 1878,” more than nine meters wide and over five meters high. The young emperor rides in armor through the decorated city, banners and flowers fall from the houses, and directly at his horse's feet, barely veiled, walk the maidens of honor from the historic entry; Albrecht Dürer had described them as an eyewitness in 1520. The scandal was calculated, contemporaries claimed to recognize prominent Viennese women among the nudes, and the gamble paid off: Paris awarded the painting a gold medal at the 1878 World's Fair, and in 1882 the Hamburger Kunsthalle purchased the “Entry” for 130,000 marks. There, the giant disappeared behind a plaster wall and remained hidden until 2016; it has been freely displayed again only since 2020.

On April 27, 1879, Vienna demonstrated what it had in this painter. To mark the imperial couple's silver wedding anniversary, a ceremonial procession moved along the Ringstrasse, with 14,000 participants in Renaissance costume, every group dressed to Makart's designs, again after Dürer: this time after his printed sheets for the Triumphal Arch of Emperor Maximilian I. The painter himself rode in the procession, dressed in dark blue velvet and a broad, feathered hat, on a richly caparisoned horse, and the city gave the celebration his name; from then on, it was known as the Makart Procession. His name became a label in general; Makart style meant plush, heavy wall hangings, and massive chandeliers, a Makart bouquet was an arrangement of dried flowers, palm fronds, and grasses, and a Makart hat had a broad brim with a feather.

In February 1881, Makart received his last major commission, the ceiling painting for the staircase of the Kunsthistorisches Museum. The only part he completed was the color sketch “Victory of Light over Darkness,” now in the Belvedere. In it, Helios rises with his four-horse chariot from blazing yellow light, the horses surge diagonally out of the brightness, luminous figures in veils hover above, and dark bodies plunge headfirst into the chasms of cloud below; the entire vault is conceived as a single upward pull. He never executed the ceiling itself; a brain disease took the work from his hands, and Vienna lost Hans Makart on October 3, 1884, at only forty-four years of age. For two days, his coffin lay in state among the tapestries and palms of Gusshausstrasse before he was carried out to an honorary grave at Vienna Central Cemetery.



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Still have questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


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