Makart was a prolific painter whose ideas significantly influenced the development of visual art in Austria-Hungary, Germany, and beyond.
While in the Academy, German art was under the rule of a classicism, 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.
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.
The first picture he painted under Piloty, Lavoisier in Prison, though it was considered timid and conventional, attracted attention by its sense of color.
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.
This became known as the "Makart-parade", and gave the people of Vienna the chance to dress up in historical costumes and be transported back into the past for a few hours.
In 1882, emperor Franz Joseph I 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.
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 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.
Some have also suggested that primacy of sexual symbolism in Art Nouveau artworks were influenced by the sensuality in many of Makart's paintings.