生活

马卡特是在米拉贝尔宫张伯伦的儿子，出生在的王子大主教的故居萨尔斯堡。最初，他从接受了他的绘画训练在维也纳学院1850年和1851年之间约翰·菲施巴赫。而在学院，德国艺术是一个统治下的古典主义，这是完全知识产权和学术清晰和精确的图纸，雕刻般的造型和绘画博学均高于一切尊敬。马卡特，谁是一个贫穷的绘图员，谁有颜色的激情和感性的爱情，是不耐烦逃跑的艺术学校绘画的日常。对于他的财富，他是被教官发现，缺乏所有的人才，被迫离开维也纳学院。

他去了慕尼黑，两年的独立研究后，吸引了注意力卡尔·西奥多·冯·Piloty，他的指导下，1861年和1865年之间在他发展了他的绘画风格。在这些年里，马卡特还前往伦敦，巴黎和罗马深造。他画下Piloty，第一张照片拉瓦锡在狱中，尽管它被认为是胆怯和常规，吸引关注它的色彩感。他在接下来的工作中，骑士和水若虫，他第一次显示装饰资质到他后来牺牲在他的工作一切。他的名声成为建立在未来的一年，有两个作品，现代Amoretti和鼠疫在佛罗伦萨。他的绘画罗密欧与朱丽叶不久后由奥地利皇帝维也纳博物馆买了，马卡特应邀参加由贵族来到维也纳。

冯霍恩洛厄在Gusshausstraße25提供马卡特与旧代工王子作为工作室使用。他逐渐把它变成一个令人印象深刻的地方充满雕塑，花卉，乐器，必要条件和珠宝，他用来为他的肖像创造的经典设置，主要是妇女的。最终，他的工作室看起来像一个沙龙，成为在维也纳举行。社会的交汇点科西玛瓦格纳形容这是一种“美容装饰奇迹，一个崇高的木材室”。他豪华的一室担任了大量的上层中产阶级客厅的典范。

该马卡特的华丽，半公共空间工作室是艺术家和他的公众之间的经常性交会现场。马卡特成为社会各阶层之间的调停人：他创造了社会模棱两可的球体在贵族和资产阶级可能会遇到另一个在主相互崇拜，并从拉历史模型手段审美化的资产阶级的蓬勃发展自我意识世界中的贵族。这样一来，像马卡特一个艺术家活出高的社会发生了的他创建的图像。

马卡特成为维也纳，这在19世纪70年代经历了一段狂热的活动传递的艺术生活的公认的领导者，它的主要成果是的装潢豪华的公共建筑的环形道。他不仅练画，但也是一个室内设计师，服装设计，家具设计，和装饰，他的工作最华丽的时代的公共空间。他的作品所产生的“Makartstil”一词，即“马卡特风格”，这完全表征的时代。

1879年，马卡特设计了为庆祝天皇夫妇的银婚纪念日的盛会，皇帝弗朗茨约瑟夫和他的妻子巴伐利亚伊丽莎白 -他的设计，单手，服饰，景色怡人，和凯旋车。这后来被称为“马卡特-游行”，并给了维也纳人民历代服饰打扮，并运回了过去几个小时的机会。在游行队伍的前列是艺术家浮动的带领下，马卡特白马。他的节日成为了在维也纳的机构持续，直到20世纪60年代。同年作为第一大游行，他成为维也纳学院教授。

马卡特的绘画查理五世进入安特卫普引起了一些争议，因为查理五世被描绘在由裸体处女包围的游行到达; 进攻是错误的想法，有裸体在现代场景的地方。在美国，这幅画下跌的禁令下，安东尼·康斯托克，其中有担保马卡特的名气。同时希望美国公众看到什么康斯托克被迫害，这样他们就可以知道他是否是在演戏正确或错误。

1882年，皇帝弗朗茨约瑟夫下令建设别墅爱马仕在Lainz（靠近维也纳），为他的皇后和指定的居室装修是从灵感莎士比亚的仲夏夜之梦。马卡特为他设计的，在仍然存在一个梦幻别墅爱马仕作为一个大画（1882）。不幸的是他的设计从来没有在他1884年他的古董和艺术品收藏包括1083件早期死亡后执行，并提出了由艺术经销商何Miethke拍卖。

萨尔茨堡的马卡特广场，或设有Makartplatz，画家的名字命名的。

艺术

在“Makartstil”，它决定整个时代的文化在维也纳，是一个唯美主义的喜欢，其中没有被他见过的，并没有被复制到这一天。被称为“色彩魔术师”，他画在绚丽的色彩和液体的形式，这给设计和工作之前，一切的美感。通常情况下，以提高他介绍沥青到他的涂料，这导致了在他的画多年来恶化的一些颜色他的实力。这些绘画通常是大型和历史图案戏剧作品。作品如罗马教皇选举揭示马卡特的在大胆的色彩运用技巧来传达戏剧，以及他后来开发的演奏家制图。

马卡特是在所有的视觉艺术的相互作用，从而在“的实施理念非常感兴趣的艺术作品总其中占主导地位在19世纪对艺术的讨论”。这是他在他的组织和围绕自己宏伟的庆祝活动实现了理想。1879年马卡特，游行是这些努力的顶点。马卡特也作曲家的朋友理查德·瓦格纳，它可以说，这两个开发各自不同的艺术形式相同的概念和风格的倾向：在唯美的框架嵌入历史和神话的主题关注的问题，使他们各自的作品的历史盛会。

马卡特的工作，像其他的学术艺术家的时间，包括了寓言画和历史画中看到的卡特琳娜Carnaro，戴安娜·亨特，查尔斯五世进入安特卫普，阿布恩丹提亚，春，夏，埃及艳后之死，五感官和巴克斯和阿里阿德涅。他被认为是奥地利对手法国威廉·阿道夫·布格罗。在奥地利，他最接近的竞争对手被认为是汉斯佳能，和他与雕塑家相关尤Tilgner，谁跟他前往意大利。

影响

除了他的明确影响的学术艺术的时间和维也纳的高文化，马卡特也影响了一系列的画家和装饰谁跟着他，其中包括许多谁背叛了他的风格，最显着的的克林姆，是谁给说都崇拜他。克里姆特的早期风格的总部设在历史主义和具有明显的相似性马卡特的画。在整个装饰重点分裂国家，奥地利的新艺术风格，其中克里姆特是一个部分，出现在这马卡特已经把艺术的装饰方面走在了前面的环境。有人还建议，新艺术风格的艺术品象征性的首要地位是由感性中的许多马卡特的绘画影响。

Life

Makart was the son of a chamberlain at the Mirabell Palace, born in the former residence of the prince-archbishops ofSalzburg. Initially, he received his training in painting at the Vienna Academy between 1850 and 1851 from Johann Fischbach. While in the Academy, German art was under the rule of aclassicism, which was entirely intellectual and academic—clear and precise drawing, sculpturesque modelling, and pictorial erudition were esteemed above all. Makart, who was a poor draughtsman, but who had a passionate and sensual love of color, was impatient to escape the routine of art school drawing. For his fortune, he was found by his instructors to be devoid of all talent and forced to leave the Vienna Academy.

He went to Munich, and after two years of independent study attracted the attention of Karl Theodor von Piloty, under whose guidance, between 1861 and 1865 he developed his painting style. During these years, Makart also travelled toLondon, Paris and Rome to further his studies. The first picture he painted under Piloty, Lavoisier in Prison, though it was considered timid and conventional, attracted attention by its sense of color. In his next work,The Knight and the Water Nymphs, he first displayed the decorative qualities to which he afterwards sacrificed everything else in his work. His fame became established in the next year, with two works, Modern Amoretti andThe Plague in Florence. His painting Romeo and Juliet was soon after bought by the Austrian emperor for the Vienna Museum, and Makart was invited to come to Vienna by the aristocracy.

The prince Von Hohenlohe provided Makart with an old foundry at the Gusshausstraße 25 to use as a studio. He gradually turned it into an impressive place full of sculptures, flowers, musical instruments, requisites and jewellery that he used to create classical settings for his portraits, mainly of women. Eventually his studio looked like a salon and became a social meeting point in Vienna. Cosima Wagner described it as a "wonder of decorative beauty, a sublime lumber-room". His luxurious studio served as a model for a great many upper middle-class living rooms.

The opulent, semi-public spaces of the Makart atelier were the scene of a recurring rendezvous between the artist and his public. Makart became the mediator between different levels of society: he created a socially ambiguous sphere in which nobility and bourgeoisie could encounter one another in mutual veneration of the master, and aestheticized the burgeoning self-awareness of the bourgeoisie by means of historical models drawn from the world of the aristocracy. In this way, an artist like Makart lived out the image that high society had created of him.Makart became the acknowledged leader of the artistic life of the Vienna, which in the 1870s passed through a period of feverish activity, the chief results of which are the sumptuously decorated public buildings of the Ringstraße. He not only practised painting, but was also aninterior designer, costume designer, furniture designer, and decorator, and his work decorated most of the public spaces of the era. His work engendered the term "Makartstil", or "Makart style", which completely characterized the era.

In 1879, Makart had designed a pageant organised to celebrate the Silver Wedding Anniversary of the Imperial couple, emperor Franz Josef and his wife Elisabeth of Bavaria —he designed, single-handed, the costumes, scenic setting, and triumphal cars. This became known as the "Makart-parade", and had given the people of Vienna the chance to dress up in historical costumes and be transported back into the past for a few hours. At the head of the parade was a float for artists, led by Makart on a white horse. His festivals became an institution in Vienna which lasted up until the 1960s. In the same year as the first parade he became a Professor at the Vienna Academy.

Makart's painting The Entry of Charles V into Antwerp caused some controversy, because Charles V was depicted arriving in a procession surrounded by nude virgins; the offense was the mistaken idea that the nudes had no place in the modern scene. In the United States, the painting fell underthe proscription ofAnthony Comstock, which secured Makart's fame there. The American public desired at once to see what Comstock was persecuting, so they could tell whether he was acting correctly or in error.

In 1882, emperor Franz Josef ordered the building of the Villa Hermes at Lainz (near Vienna) for his empress and specified the bedroom decoration to be inspired from Shakespeare's Midsummer Night's Dream. Makart designed for him a dreamworld that still exists at the Villa Hermes as a large painting (1882). Unfortunately his design was never executed after his early death in 1884. His collection of antiques and art consisted of 1083 pieces and was put up for auction by art-dealer H.O. Miethke.

Salzburg's Makart Square, or Makartplatz, was named after the painter.

Art

The "Makartstil", which determined the culture of an entire era in Vienna, was an aestheticism the likes of which hadn't been seen before him and has not been replicated to this day. Called the "magician of colors", he painted in brilliant colors and fluid forms, which placed the design and the aesthetic of the work before all else. Often to heighten the strength of his colors he introduced asphalt into his paint, which has led to some deterioration in his paintings over the years. The paintings were usually large-scale and theatrical productions of historical motifs. Works such as The Papal Election reveal Makart's skill in the bold use of color to convey drama as well as his later developed virtuoso draughtsmanship.

Makart was deeply interested in the interaction of all the visual arts and thus in the implementation of the idea of the "total work of art" which dominated discussions on the arts in the 19th century. This was the ideal which he realised in magnificent festivities which he organised and centred on himself. The 1879 Makart-parade was the culmination of these endeavors. Makart was also a friend of the composer Richard Wagner, and it can be argued that the two developed the same concepts and stylistic tendencies in their differing art forms: a concern for embedding motifs of history and mythology in a framework of aestheticism, making their respective works historical pageants.

Makart's work, like those of other academic artists of the time, consisted of allegorical painting and history painting as seen in Catherina Carnaro, Dianas Hunt, The Entry of Charles V into Antwerp, Abundantia, Spring, Summer, The Death of Cleopatra, The Five Senses, and Bacchus and Ariadne. He was considered the Austrian rival to the French William-Adolphe Bouguereau. Within Austria, his nearest competitor was considered to be Hans Canon, and he was associated with the sculptor Viktor Tilgner, who travelled with him to Italy.

Influence

Aside from his clear influence on the academic art and high culture of Vienna at the time, Makart also influenced a range of painters and decorators who followed him, including many who rebelled against his style—the most notable being Gustav Klimt, who is said to have idolized him. Klimt's early style is based in historicism and has clear similarities to Makart's paintings. The entire decorative focus of theSecession, the Austrian Art Nouveau of which Klimt was a part, arose in an environment in which Makart had put the decorative aspects of art in the forefront. Some have also suggested that primacy of sexual symbolism in Art Nouveau artworks were influenced by the sensuality in many of Makart's paintings.