HANS See also:

• HANS MAKART (1840-1884)

MAKART (1840-1884)  , See also:

• AUSTRIAN

Austrian painter, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SALZBURG

Salzburg, was the son of an inspector of the imperial See also:

• CASTLE
• CASTLE (Lat. castellum, a fort, diminutive of castra, a camp; Fr. chateau and chdtel)

castle . He has been aptly called the first See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . When he, as a youth, entered the See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy German See also:

• ART

art was under the See also:

• RULE

rule of See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius's See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold classicism . It was entirely intellectual and See also:

• ACADEMIC

academic . Clear and precise See also:

• DRAWING

drawing, sculpturesque modelling, and pictorial erudition were the qualities most esteemed; and it is not surprising that See also:

• MAKART, HANS (1840-1884)

Makart, poor draughtsman to the very last, with a passionate and sensual love of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, and ever impatient to See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape the routine of art-school drawing, was found to be "devoid of all See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent" and forced to leave the Vienna Academy . He went to See also:

• MUNICH (Ger. Munchen)

Munich, and after two years of See also:

• INDEPENDENT

independent study attracted the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of See also:

• PILOTY, KARL VON (1826-1886)

Piloty, under whose guidance he made rapid and astonishing progress . The first picture he painted under Piloty, " See also:

• LAVOISIER, ANTOINE LAURENT (1743-1794)

Lavoisier in See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

Prison," though timid and conventional, attracted attention by its sense of colour . In the next, " The See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight and the See also:

• WATER

Water See also:

• NYMPHS

Nymphs," he first displayed the decorative qualities to which he afterwards sacrificed everything else in his See also:

• WORK

work . With the " Cupids " and " The See also:

• PLAGUE (in Gr. Xotµos; in Lat. pestis, pestilentia)

Plague in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence " of the next See also:

• YEAR

year his fame became firmly established . " Romeo and Juliet " was soon after bought by the Austrian See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

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, BENJAMIN WILLIAMS (1831– )

leader of the See also:

• ARTISTIC

artistic See also:

• LIFE

life of the See also:

• CITY (through Fr. cite, from Lat. civitas)

city, which in the 'seventies passed through a See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of feverish activity, the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief results of which are the sumptuously decorated public buildings of the Ringstrasse . The See also:

• ENTHUSIASM

enthusiasm of the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, the splendour of the fetes over which Makart presided, and the very obvious See also:

• APPEAL

appeal of his huge compositions in their glowing richness of colour, in which he tried to emulate See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens, made him appear a very See also:

• GIANT (O.E. geant, through Fr. giant, O.Fr. gaiant, jaiant, jeant, med. pop. Lat. gagante—cf. Ital. gigante—by assimilation from gigantem, ace. of Lat. gigas, Gr. yiyas)

giant to his contemporaries in Vienna, and indeed in all See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria and See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany .

The See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of each of his ambitious See also:

• HISTORICAL

historical and allegorical paintings was hailed with enthusiasm—the " Catherina See also:

• CORNARO, CATERINA (1454-1510)
• CORNARO, LUIGI (1457–1566)

Cornaro," "See also:

• DIANA

Diana's See also:

• HUNT, ALFRED WILLIAM (183o-1896)
• HUNT, HENRY (1i73-1835)
• HUNT, HENRY JACKSON (1819-1889)
• HUNT, JAMES HENRY LEIGH (1784-1859)
• HUNT, ROBERT (1807-1887)
• HUNT, THOMAS STERRY (1826-1892)
• HUNT, WILLIAM HENRY (1790—1864)
• HUNT, WILLIAM HOLMAN (1827-1910)
• HUNT, WILLIAM MORRIS (1824-1879)

Hunt," "The Entry of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles V. into See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp," " See also:

• ABUNDANTIA (" Abundance ")

Abundantia," " See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

Spring," " Summer," " The See also:

• DEATH

Death of See also:

• CLEOPATRA

Cleopatra " and the " Five Senses." He reached the See also:

• ZENITH (from the Arabic)

zenith of his fame when, in 1879, he designed, single-handed, the costumes, scenic setting, and triumphal cars of the See also:

• GRAND

grand See also:

• PAGEANT

pageant with 452 which the citizens of Vienna celebrated the See also:

• SILVER

silver See also:

• WEDDING

wedding of their rulers . Some 15,000 See also:

• PEOPLE

people participated in the pageant, all dressed in the costumes of the Rubens and See also:

• REMBRANDT (1606-1669)

Rembrandt period . Makart died in Vienna in See also:

• OCTOBER

October 1884 . Unfortunately Makart was in the See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit of using such villainous See also:

• PIGMENTS (Lat. pigmentum, from pingere, to paint)

pigments and mediums that in the few decades which have passed since his death, the vast See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of his large paintings have practically perished . The blues have turned into See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green ; the See also:

• BITUMEN

bitumen has eaten away the See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

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 (from Lat. ex-sequor, exsecutus, follow or carry out)

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
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, See also:

• HAMBURG

Hamburg and See also:

• STUTTGART

Stuttgart . For the Vienna Museum he also executed a See also:

• SERIES (a Latin word from serere, to join)

series of decorative lunettes . MAKING-UP See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

PRICE, a See also:

• TERM

term used in the See also:

• LONDON

London and other See also:

• BRITISH

British Stock Exchanges, to denote the price at which speculative bargains are carried over from one See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account to the next . The carrying over of a "See also:

• BULL
• BULL, GEORGE (1634–1710)
• BULL, JOHN (c. 1562–1628)
• BULL, OLE BORNEMANN (18ro-188o)

bull" position in Eries, for example, implies a See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale for See also:

• CASH

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

noon on carry-over See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, in accordance with the See also:

• MARKET (Lat. mercatus, trade or place of trade)

market price then current (see ACCOUNT; STOCK See also:

• EXCHANGE

EXCHANGE) . The term is also used in New See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York, where the making-up prices are fixed at the end of a day's business, in accordance with the See also:

• AMERICAN

American See also:

• SYSTEM

system of daily settlements .