(1875); Grapes and Peaches; Banks of the Marne near Vignely (1876); Washerwomen of Vignely, Undergrowth in the Alps (1877); Decorative Panel (1879); Bouquet of Roses (1881); Cut Roses at Foot of Rosebush (1882); Pears and Peaches, Broken Branch (1883); Rose-bushes in the Old Park, Fruit-*piece (1885).—Bellier, ii. 14; Du Camp, Beaux-Arts, 84, 251, 347.
 | An image should appear at this position in the text. To use the entire page scan as a placeholder, edit this page and replace "{{missing image}}" with "{{raw image|Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/204}}". Otherwise, if you are able to provide the image then please do so. For guidance, see Wikisource:Image guidelines and Help:Adding images. |  |
MAKART, HANS, born at Salzburg, May
29, 1840, died
in Vienna, Oct.
3, 1884. History
painter,
pupil, in 1858,
of Vienna Academy
under Ruben,
but, dissatisfied
with the
prevailing methods,
left it after
a few months,
and returned on foot to Salzburg, whence,
through the munificence of the Prince-Archbishop
Maximilian von Tarnoczy, he soon
proceeded to Munich, and there studied
first under his relative, the landscape painter
Schiffmann, and in 1861-65 at the Academy
under Piloty; visited London and Paris in
1863, Italy in 1866, Venice and Vienna in
1868, Rome in 1869, and in the same year
settled in Vienna at the invitation of the
Emperor Francis Joseph, who caused a
sumptuous studio to be prepared for the
artist, and in 1876 conferred on him the title
of professor. The winter of 1875-76 he
spent in Egypt, then visited Antwerp, and
in 1877 Spain. Professor at Vienna Academy
from 1879; honorary member of Vienna,
Berlin, and Munich Academies. Gold
medals in Vienna, 1857, 1882; Medal of Honour,
Paris, and L. of Honour, 1878; Officer,
1884. In August, 1884, he became insane.
Works: Lavoisier in Prison (1861); Afternoon
Pastime of Aristocratic Venetians
(1862); Falstaff in the Basket (1864);
Knight and Mermaids (1865), Schack Gallery,
Munich; Leda (1866); Portraits in
Rembrandt's manner, Roman Ruins (1867);
Modern Amorettes (1868); Plague in Florence
(1868), Count Pálffy, Hungary; Queen
of Elves (1869), Raczynski Gallery, Berlin;
Juliet on the Bier (1869), Vienna Museum;
Abundantia (1870); Cycle of Allegories
(1870-72), Palais Dumba, Vienna; Four Divisions
of Day, Two Scenes from Snow-Drop
(1873); Caterina Cornaro (1873, of which
we give a photogravure), National Gallery,
Berlin; Scene from Midsummer-Night's
Dream (1874); Cleopatra (1875), Stuttgart
Museum; Antique Sail on the Nile, Moorish
Prince, Two Fellah Women carrying
Water, Two Nubian Girls (1875-76); Entry
of Charles V. into Antwerp (1875-78),
Kunsthalle, Hamburg; Five Senses (1879);
Ophelia, Diana's Hunting Party (1880),
James A. Banker, Irvington, N. Y.; Summer
(1881); Spring (1882); Cycle to Wagner's
Trilogy of Nibelungs, Apotheosis of Art,
Cycle in Art-historical Museum—Vienna
(1883); Judith (1884); Bathers Surprised,
T. A. Havemeyer, New York; Love-Dream,
Miss C. L. Wolfe, ib.—Academy (1880), i.
328; Allgem. K. C., viii.; Art Journal
(1881), 205; (1884), 350; Illustr. Zeitg.
(1869), 101; (1875), i. 211; (1877), ii. 267;
(1883), i. 292; Jordan (1885), i. 168; ii. 142;
D. graph. K., ii. 11; iii. 27; Kunst-Chronik,
ii. 168; v. 22, 163, 193; vii. 95; viii. 793; ix.
294; x. 694.; xiii. 441; xiv. 598; xv. 521; xvi.
465; xvii. 1, 309, 490; xviii. 11, 302, 462;
xix. 741; xx. 13, 95, 383, 525, 557; La Ilustracion
(1881), i. 283; ii. 178; (1884), i. 75,
379; Landsteiner, Hans Makart u. Rob. Hamerling
(Vienna, 1873); Leixner, Mod. K., ii.
6; Bruno Meyer, Stud. u. Krit., 326, 345;
Müller, 349; Neue illustr. Zeitg. (1885), i.
7; Pecht, ii. 340; Portfolio (1884), 223;
(1886), 36, 49; D. Rundschau, xxv. 463;
Land und Meer (1872), No. 2, 3; Westermann's
Monatshefte, xlix. 378; Zeitschr. f.
b. K., viii. (Mittheilungen, i. 42); xiv. 25,
193; xxi. 181, 214.
MAKOVSKI, KONSTANTIN, born in
Moscow, June 30, 1839. Historical genre
and portrait painter, pupil of the Moscow
