270611: Makart. Painter of the senses. / Makart. An artist rules the city Meat and filler

Makart. Painter of the senses. / Makart. An artist rules the city Meat and filler 09.06.11 - 16.10.11 Red is a colour for traffic lights, stripes on ambulances and lipsticks, a conspicuous, much-spread colour, and paintings that deserve such a red should be worthy of this honour if the pictures are good. Honour for the painter, Hans Makart, is demonstrated in two locations in cooperation with three houses. It feels as if three thousand, two hundred and twenty-eight important details are presented, mentioned and discussed in numerous exhibits under Hans Makart's marketing surname - "Painter of the senses" in the Belvedere and "An artist rules the city" in the Künstlerhaus. It seems as if they attempt to come to grips with the Dumba Room, with the atelier that Rudolf von Alt tenderly portrayed in every detail (Künstlerhaus), with the velvety curtains in lilac and pistachio that enhance the magnificence of the pictures by a real and rapt creamy embellishment (Belvedere) and the threshold to modernity. The threshold to modernity before which they all stand, and unfortunately no longer fit into the modern, is important also in an international art contextual development, and beside a picture of a lady by Makart in the Belvedere, one also sees a picture of a lady by Makart's contemporary, Manet. Makart uses more red and more colour which doesn't have to mean anything bad. More exactly, Manet uses so little colour for his portrait of a lady that one could consider Manet's picture dry. Manet's lady doesn't wear a fur, Makart's lady does. It's nothing to do here with the correctness of keeping fur-bearing animals, but rather with the puttied mess that Manet could not produce in a fur collar and which attested Makart's alleged fear of his embarking on the modern. Abstraction is quackery with Makart. He doesn't come across as a painter who found his work difficult or dry. Makart was a painter who worked his atelier in the same way as cinema owners later worked their cinemas; he took entry fees and marketed his works manifoldly and professionally. Today, Vogue would contact him in order for his atelier to appear in a fashion magazine. At that time, everyone who had nothing better to do went there and found pleasure in cultivated collective voyeurism. It's lucky that Makart had nothing better to do than paint firm-bosomed wonders and magnificent furs with artistic dark pucker ornaments in every possible position and gives so much space to a funny, silicon-like rubbery mass of humanity. Otherwise, he organized a grandiose procession. Pity that films had not yet been invented. The red in his pictures appears to have been masterfully applied and flickers cautiously. One can see that the pictures truly pleased Makart and many others but it is not evident why they should continue to please. If Makart had been a painter of steak, he could have patronized vegans enormously. By Charles Nebelthau Unteres Belvedere 1030 Vienna, Rennweg 6 Tel: +43 1 795 57-200 Fax: +43 1 795 57-121 email: info@belvedere.at http://www.belvedere.at Opening times: Daily from 10 a.m. - 6 p.m, Wednesdays 10 a.m. - 9 p.m.

Unteres Belvedere
1030 Wien, Rennweg 6
Tel: +43 1 795 57-200, Fax: +43 1 795 57-121
Email: info@belvedere.at
Öffnungszeiten: Täglich 10 bis 18 Uhr, Mittwoch 10 bis 21 Uhr

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