| Born | May 18, 1840 (Salzburg) |
| Died | October 3, 1884 (Wien) at the age of 44 |
| Nationality | Austria |
| Epochs | Romanticism, Orientalistische Malerei |
| Genre | history painting, still life, landscape, portrait |
| Profession | painter, teacher, architectural drafter |
| Family | Father: Johann Baptist Alois Makart Mother: Katharina Makart Spouse: Bertha Linda Child: Hans Makart junior |
| Teacher | Johann Fischbach |
| Student | Konstanty Mańkowski, Gottlob Knapp, Hans Bulhardt |
| Notable works | Der Einzug Karls V. in Antwerpen (Hamburger Kunsthalle) (1878), Portrait der Helene von Racowitza (1873), Kleopatra (1874), Charlotte Wolter as Messalina (1875), Clothilde Beer (1880) |
| Museums | Belvedere (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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| Born | May 18, 1840 (Salzburg) |
| Died | October 3, 1884 (Wien) at the age of 44 |
| Nationality | Austria |
| Epochs | Romanticism, Orientalistische Malerei |
| Genre | history painting, still life, landscape, portrait |
| Profession | painter, teacher, architectural drafter |
| Family | Father: Johann Baptist Alois Makart Mother: Katharina Makart Spouse: Bertha Linda Child: Hans Makart junior |
| Teacher | Johann Fischbach |
| Student | Konstanty Mańkowski, Gottlob Knapp, Hans Bulhardt |
| Notable works | Der Einzug Karls V. in Antwerpen (Hamburger Kunsthalle) (1878), Portrait der Helene von Racowitza (1873), Kleopatra (1874), Charlotte Wolter as Messalina (1875), Clothilde Beer (1880) |
| Museums | Belvedere (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.