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MAKART, HANS (1840-1884)

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Originally appearing in Volume V17, Page 452 of the 1911 Encyclopedia Britannica.
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MAKART, HANS (1840-1884) , See also:Austrian painter, See also:born at See also:Salzburg, was the son of an inspector of the imperial See also:castle. He has been aptly called the first See also:German painter of the 19th See also:century. When he, as a youth, entered the See also:Vienna See also:Academy German See also:art was under the See also:rule of See also:Cornelius's See also:cold classicism. It was entirely intellectual and See also:academic. Clear and precise See also:drawing, sculpturesque modelling, and pictorial erudition were the qualities most esteemed; and it is not surprising that Makart, poor draughtsman to the very last, with a passionate and sensual love of See also:colour, and ever impatient to See also:escape the routine of art-school drawing, was found to be "devoid of all See also:talent" and forced to leave the Vienna Academy. He went to See also:Munich, and after two years of See also:independent study attracted the See also:attention of See also:Piloty, under whose guidance he made rapid and astonishing progress. The first picture he painted under Piloty, " See also:Lavoisier in See also:Prison," though timid and conventional, attracted attention by its sense of colour. In the next, " The See also:Knight and the See also:Water See also:Nymphs," he first displayed the decorative qualities to which he afterwards sacrificed everything else in his See also:work. With the " Cupids " and " The See also:Plague in See also:Florence " of the next See also:year his fame became firmly established. " Romeo and Juliet " was soon after bought by the Austrian See also:emperor for the Vienna Museum, and Makart was invited to come to Vienna, where a large studio was placed at his disposal. In Vienna Makart became the acknowledged See also:leader of the See also:artistic See also:life of the See also:city, which in the 'seventies passed through a See also:period of feverish activity, the See also:chief results of which are the sumptuously decorated public buildings of the Ringstrasse. The See also:enthusiasm of the See also:time, the splendour of the fetes over which Makart presided, and the very obvious See also:appeal of his huge compositions in their glowing richness of colour, in which he tried to emulate See also:Rubens, made him appear a very See also:giant to his contemporaries in Vienna, and indeed in all See also:Austria and See also:Germany.

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appearance of each of his ambitious See also:historical and allegorical paintings was hailed with enthusiasm—the " Catherina See also:Cornaro," "See also:Diana's See also:Hunt," "The Entry of See also:Charles V. into See also:Antwerp," " See also:Abundantia," " See also:Spring," " Summer," " The See also:Death of See also:Cleopatra " and the " Five Senses." He reached the See also:zenith of his fame when, in 1879, he designed, single-handed, the costumes, scenic setting, and triumphal cars of the See also:grand See also:pageant with 452 which the citizens of Vienna celebrated the See also:silver See also:wedding of their rulers. Some 15,000 See also:people participated in the pageant, all dressed in the costumes of the Rubens and See also:Rembrandt period. Makart died in Vienna in See also:October 1884. Unfortunately Makart was in the See also:habit of using such villainous See also:pigments and mediums that in the few decades which have passed since his death, the vast See also:majority of his large paintings have practically perished. The blues have turned into See also:green ; the See also:bitumen has eaten away the See also:rich glow of the colour harmonies; the thickly applied paint has cracked and in some instances crumbled away. And this loss of their chief quality has accentuated the weaknesses of these pictures—the faulty drawing, careless and hasty See also:execution, lack of deeper significance and prevalence of glaring anachronisms. Important examples of his work are to be found at the galleries of Vienna, See also:Berlin, See also:Hamburg and See also:Stuttgart. For the Vienna Museum he also executed a See also:series of decorative lunettes. MAKING-UP See also:PRICE, a See also:term used in the See also:London and other See also:British Stock Exchanges, to denote the price at which speculative bargains are carried over from one See also:account to the next. The carrying over of a "See also:bull" position in Eries, for example, implies a See also:sale for See also:cash and a simultaneous repurchase for the new account, both bargains being done at the making-up price. This is fixed at See also:noon on carry-over See also:day, in accordance with the See also:market price then current (see ACCOUNT; STOCK See also:EXCHANGE). The term is also used in New See also:York, where the making-up prices are fixed at the end of a day's business, in accordance with the See also:American See also:system of daily settlements.

End of Article: MAKART, HANS (1840-1884)

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