Philipp Veit

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Self portrait, 1816
The Empyreum and Figures of the Celestial Spheres of Paradiso after Dante's Divine Comedy, Casino Massimo, Rome, fresco, 1817–1827
Piccarda and Constance of Sicily
, detail, Casino Massimo, Rome, fresco, 1817–1827
Franz Ludwig Catel, Crown Prince Ludwig in the Spanish Tavern in Rome, 1824
Immaculate conception, 1830, oil on canvas, Santa Trinità dei Monti, Rome
Allegory of Religion, 1819, oil on canvas, Alte Nationalgalerie, Staatliche Museen zu Berlin
Germania
, 1836

Philipp Veit (13 February 1793 – 18 December 1877) was a German

fresco painting is due.[1]

Biography

Veit was born in

Dresden Academy of Fine Arts, where he was taught by Friedrich Matthäi and Caspar David Friedrich,[2][3] later in Vienna. Although a prodigious talent when it came to drawing, Veit was not comfortable with oil painting, for which reason in Vienna he took to the medium of watercolour. In Vienna, he made the acquaintance of Schlegel, and through him came to know several Viennese Romantics, one of whom was the poet and novelist Joseph von Eichendorff.[3] He was strongly influenced by, and joined, the Nazarene movement in Rome, where he worked for some years before moving to Frankfurt.[1]

In 1810, Veit converted to Catholicism together with his mother and his senior brother

Joseph Freiherr von Eichendorff and his own lieutenant Friedrich de la Motte Fouqué.[2] Beginning in 1811, Veit was more teaching himself and finished a couple of portraits (Zichy-Vásonykeő, Julie Gräfin, lost; Franz Xaver von Baader and other members of Vienna's society and exponents of Romanticism). In 1815, he finished his first religious painting. Virgin with Christ and St John, a votive painting for the church of St James in Heiligenstadt, Vienna. The painting shows already close ties to the Nazarene movement and thus was inspired by the style of Pietro Perugino and Raphael.[3]

Rome

Rome was at that time of fundamental importance not only to artists of all stripes but—as the religious centre of Christianity—especially to artists prepared to re-create a spiritually inspired art, seeking for inspiration in the art of the

Friedrich Wilhelm Schadow, and later Veit frescoed a room in the "Casa Bartholdy" called Palazzo Zuccari on the Pincian Hill, which at that time was owned by Jakob Salomon Bartholdy, the Prussian Consul-General. The commission was given to Schadow and his young compatriots with the selected subject of Joseph and his brethren. While The Bloody Coat and Joseph in Prison were conferred to Schadow, Veit executed Potiphar's wife and the Seven Years of Great Abundance (in 1867, the frescoes were sold by the Zuccari family to the Alte Nationalgalerie in Berlin). In 1817, Veit received the commission for a fresco in the Museo Chiaramonti (part of the Vatican, set out in the long loggia which joins the Palace of Belvedere with the Vatican) with the allegorical subject of The Triumph of the Religion.[6] A simultaneous replica (executed in oil on canvas) was exhibited in 1819 in the Palazzo Caffarelli on the Capitol Hill and is today part of the collection of the National Gallery in Berlin.[7] Among the frescoes in the Casino Massimo,[8] the second renowned example of composite work of Nazarene art in Rome, Veit executed scenes, e.g., of the Paradiso, at the ceiling of the Dante room, after Dante Alighieri's Divine Comedy.[9] At the same time, around 1824, Veit was commissioned by the canon Christian Leberecht von Ampach to execute a painting with the subject of Christ at the Mount of Olives (Christus am Ölberg, finished 1825) for the Chapel of the Three Magi (Dreikönigskapelle) at Naumburg Cathedral in Germany.[10] In 1821, Veit had married a young girl, Carolina Pulini (1807–1890), the daughter of his landlord, the sculptor Gioacchino Pulini (1777–1857).[11]
Carolina gave birth to five children: 1822 Dorothea, 1824 Theresa, 1826 Franziska, 1828 Maria Benedetta, and 1830 Friedrich.

Still in Rome in 1824, Veit was depicted as a member of German artists' circles in

Santa Trinità dei Monti
, moreover the last work of his Roman period, with clear stylistic impact of Raphael and Perugino.

Frankfurt

In October 1830, Veit arrived in Frankfurt on Main together with his wife Carolina and their five children. In Frankfurt on Main, where his most important works are preserved at the

Saint Paul's Cathedral of Frankfurt on Main was used as an assembly hall, Veit executed a second version of the Germania-painting (oil on canvas) which hung in full view on the wall above the chair people as an appeal to all German states to create a unitary constitution during the first all-German Parliament.[14][15] Between 1840 and 1852, four so-called portraits of German rulers (which were, actually, pictures of Holy Roman emperors) were painted by Veit: Friedrich II. (Frederick II, Holy Roman Emperor), Heinrich VII. (Henry VII, Holy Roman Emperor), Otto der Große (Otto the Great) and Karl der Große (Charlemagne
) as donation for the "Kaisersaal" (Emperor's Hall) in the City Hall of Frankfurt.

From 1853 till his death in 1877 he held the post of director of the municipal gallery in Mainz. Like his fellow Nazarenes he was more draughtsman than painter, and though his sense of colour was stronger than that of Overbeck or Cornelius, his works are generally more of the nature of coloured cartoons than of paintings in the modern sense.[1]

Among Veit's other principal works is his Assumption in the Frankfurt Cathedral, while the Alte Nationalgalerie of Berlin has his painting of The Two Marys at the Sepulchre.[1] Veit died in Mainz.

Paintings by Philipp Veit

  • Allegory of Russia, 1840s, oil on canvas, 121 x 91 cm, Hermitage Museum, Saint Petersburg
    Allegory of Russia, 1840s, oil on canvas, 121 x 91 cm, Hermitage Museum, Saint Petersburg
  • Marie Freifrau von Bernus, geborene du Fay (1819–1887), ca. 1838, oil on canvas, 128,6 x 97,2 cm, Städel Museum, Frankfurt
    Marie Freifrau von Bernus, geborene du Fay (1819–1887), ca. 1838, oil on canvas, 128,6 x 97,2 cm, Städel Museum, Frankfurt
  • Maria von Mörl (1812–1868)
    Maria von Mörl (1812–1868)
Wikimedia Commons has media related to Philipp Veit.

References

  1. ^ a b c d  One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Veit, Philipp". Encyclopædia Britannica. Vol. 27 (11th ed.). Cambridge University Press. p. 973.
  2. ^ a b Suhr, Norbert (2016). "Veit, Philipp". Neue Deutsche Biographie. Retrieved 20 March 2022.
  3. ^ a b c "Philipp Veit". Oxford Grove Art. Retrieved 11 March 2013.
  4. ^ "Die Mendelssohns". Retrieved 19 March 2022.
  5. ISBN 9783534162963
    .
  6. ^ Macchi, David (22 October 2014). "Vatican Museums – Chiaramonti Museum". Romapedia. Retrieved 15 April 2022.
  7. ISBN 978-3527177097
    .
  8. ^ "Giustiniani palace at the Lateran - Massimo Lancellotti Casino". CulturalHeritageOnline. 2019–2021. Retrieved 29 March 2022.
  9. ^ Novotny, Fritz (1995). Painting and Sculpture in Europe 1780–1880. New Haven, CT: Yale University Press. p. 114.
  10. ^ Suhr, Norbert (2016). "Veit, Philipp". Neue Deutsche Biographie. Retrieved 3 April 2022.
  11. ^ Noack, Friedrich (2006). "Schede Noack: Künstler in Rom". Bibliotheca Hertziana Max-Planck-Institut für Kunstgeschichte. Retrieved 1 May 2022.
  12. ^ "Digital Collection". Sammlung Städelmuseum. 2022. Retrieved 23 May 2022.
  13. ISBN 3803019087
    .
  14. ISBN 3803019087
    .
  15. ^ "Objektkatalog". Germanisches Nationalmuseum Nürnberg. 23 May 2022. Retrieved 23 May 2022.
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