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Lot Essay
The authenticity of this work has kindly been confirmed on the basis of a photograph by Dr. Frodel, Vienna.
As one of Vienna's most successful painters of the 1870s and early 1880s, Makart enjoyed a lavish studio, which quickly became a focal point for Viennese high society. He would often paint aristocratic ladies in historical costumes surrounded by rich textiles and numerous other props from his own plentiful supply in his atelier. These he collected over the years, through his friends and during his travels. Many of the more exotic items may have been acquired during the winter of 1875-6, which he spent with several friends in Cairo.
The present picture, however, probably dates from around 1872-73, and the elaborate Egyptian jewellery worn by the sitter may have been given to Makart by his friend and fellow painter Leopold Karl Müller, who made frequent trips to Egypt and the Middle East. Around her neck she wears two gold pectorals, one with a central heart scarab and faience amulet pendant below, the other with three faience amuletic figures. In addition, she also wears gold bracelets, armbands, pendant earrings and a headdress.
Makart is often less interested in capturing an exact likeness than in creating an imaginary historical character in his portraits. By his use of costume and props he skillfully and playfully evokes the wonders of a lost age, and the present work is reminiscent of Makart's famous depictions of Cleopatra (for example Der Tod der Kleopatra, 1875, Kassel, Staatliche Kunstsammlungen, Inv.Nr. L86).
As one of Vienna's most successful painters of the 1870s and early 1880s, Makart enjoyed a lavish studio, which quickly became a focal point for Viennese high society. He would often paint aristocratic ladies in historical costumes surrounded by rich textiles and numerous other props from his own plentiful supply in his atelier. These he collected over the years, through his friends and during his travels. Many of the more exotic items may have been acquired during the winter of 1875-6, which he spent with several friends in Cairo.
The present picture, however, probably dates from around 1872-73, and the elaborate Egyptian jewellery worn by the sitter may have been given to Makart by his friend and fellow painter Leopold Karl Müller, who made frequent trips to Egypt and the Middle East. Around her neck she wears two gold pectorals, one with a central heart scarab and faience amulet pendant below, the other with three faience amuletic figures. In addition, she also wears gold bracelets, armbands, pendant earrings and a headdress.
Makart is often less interested in capturing an exact likeness than in creating an imaginary historical character in his portraits. By his use of costume and props he skillfully and playfully evokes the wonders of a lost age, and the present work is reminiscent of Makart's famous depictions of Cleopatra (for example Der Tod der Kleopatra, 1875, Kassel, Staatliche Kunstsammlungen, Inv.Nr. L86).