Philipp Veit

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Philipp Veit , self-portrait, 1816, Landesmuseum Mainz

Philipp Veit (born February 13, 1793 as Feibisch Veit in Berlin , † December 18, 1877 in Mainz ) was a German painter who belonged to the Nazarenes .

life and work

Philipp Veit was a son of the banker Simon Veit and the eldest daughter of Moses Mendelssohn , Brendel (later Dorothea Friederike) . After the parents' divorce in 1799, Philipp Veit initially stayed with his mother and lived with her and her new husband Friedrich Schlegel in Jena , Paris and Cologne before he returned to his father in Berlin in 1806 and finished his schooling there. From 1808 Philipp Veit studied painting at the Art Academy in Dresden . One of his teachers there was Friedrich Matthäi , who was trained by Veit's older brother Jonas .

During the wars of freedom he became friends with Joseph von Eichendorff and his lieutenant Friedrich de la Motte Fouqué . In 1814 he said goodbye, painted a picture of Princess Wilhelm, completed the portrait of Countess Zichy and painted a picture for the church of Heiligenstadt near Vienna, before following his brother to Rome in 1815 , where he met the German romantics of the so-called Lukasbund connected. Here he participated with Peter von Cornelius , Wilhelm von Schadow and Friedrich Overbeck in the frescoes of the Casa Bartholdy , of which he executed Joseph with the wife of Potiphar and the seven fat years (now in the Berlin National Gallery). In the Villa Massimo he painted representations from Dante's "Divine Comedy" in fresco.

In 1821 he married the young Roman Carolina Pulini (1806–1890). She was the daughter of the sculptor Gioacchino Pulini and his wife Benedetta, née Gürtler (1783-1824), with whom Veit lived at the time. The couple had five children, Maria Dorothea Aloisia (1822–1897, wife of the painter Joseph Settegast from 1844 ), Maria Theresa (1824–1870, first wife of Johann Claudius von Longard from 1852 ), Maria Franziska (1824–1912, from 1871 second wife of Johann Claudius von Longard), Maria Benedicta (1828–1838) and Friedrich Anastasia Maria (1830–1878).

Commissioned by Naumburg canon Immanuel Christian Leberecht von Ampach , the painting Christ on the Mount of Olives for the Christ cycle in Naumburg Cathedral was created from 1820 onwards . Other works from his Roman period include a large altarpiece of the Queen of Heaven, Maria (in Trinità dei Monti in Rome) and the Triumph of Religion (in the Vatican ). In 1830 he was appointed director of the Städel Institute in Frankfurt am Main , where he also created a number of ecclesiastical paintings, most of which were engraved and lithographed; St. George in 1833 as an altarpiece for St. George's Church in Bensheim , Simeon in the temple, the two Marys at the grave (in the Berlin National Gallery) and the large fresco in the Städel Institute, which marked the “introduction of Christianity and the arts “In Germany , along with the two secondary images Italia and Germania . The works that he made in Frankfurt were praised by Felix Mendelssohn Bartholdy as “simple, beautiful and pious”, comparing them with the works of old masters and calling Veit an “upright artist's soul”.

Veit later also moved antique fabrics into the field of his art. In this regard, the ceiling painting in the Städel Institute, depicting the work of the oldest Hellenic sculptors, and the shield of Achilles after Homer (pen drawing, with gold, Municipal Museum ) are particularly noteworthy. For the Imperial Hall in the Römer, he painted the portraits of Charlemagne , Otto I , Frederick II and Henry VII . In 1843 he gave up the management of the Städel Institute and moved his studio together with students to the Teutonic Order House in Sachsenhausen because, as a strict Catholic, he was offended by the administration of the Städel Institute by purchasing the painting Jan Hus before the Council of Constance by Carl Friedrich Lessing felt. Here he created a large altarpiece for Frankfurt Cathedral , the Assumption of Mary , and for the King of Prussia the parable of the Good Samaritan , the Egyptian darkness and its horrors, and a draft of a fresco for the choir niche of the planned Berlin Cathedral (now in the Berlin National Gallery ). When the Teutonic Order House was needed for a barracks in 1848, he moved to the Villa Metzler , on the ground floor of which Gerhardt von Reutern invited him and other artists to work.

In March 1848 a large Germania picture hung in the Paulskirche . Today it hangs in the stairwell of the Germanic National Museum in Nuremberg . It is often ascribed to Veit, but it is possible that Veit was just a source of ideas.

In 1853 Veit took up residence in Mainz , where he became the director of the painting collection and, among other things, composed a cycle of paintings for the upper garden of the Mainz Cathedral , which were executed in frescoes by Joseph Anton Nikolaus Settegast , August Gustav Lasinsky and Th. Herrmann. He died on December 18, 1877 and was buried in the main cemetery in Mainz . Until the end of his life he remained true to the strict ascetic direction of his youth, which was also continued by his student Eduard Jakob von Steinle .

gallery

literature

in alphabetical order by authors / editors

  • Manfred Großinsky (ed.): Magic of the moment. Sketches and studies in oils. Verlag Imhof & Petersberg, Frankfurt / Main 2009, ISBN 978-3-86568-499-8 (catalog of the exhibition of the same name, September 27, 2009 to January 31, 2010, Museum Giersch ).
  • Norbert Suhr: Christian Lotsch, Philipp Veit and Eduard von Steinle: On artist caricature of the 19th century = manuscripts for art history in the Wernersche Verlagsgesellschaft 5. Wernersche Verlagsgesellschaft , Worms 1985. ISBN 978-3-88462-903-1
  • Norbert Suhr: Felix Mendelssohn Bartholdy and Philipp Veit. Unpublished letters; in: Mendelssohn Studies 6 (1986), pp. 107-119.
  • Norbert Suhr: Philipp Veit (1793–1877). Life and work of a Nazarene. Monograph and catalog raisonné; Weinheim: VCH / Acta Humaniora 1991.
  • Norbert Suhr: Philipp Veit and Joseph Anton Nikolaus Settegast - succession and imitation in late Nazarene painting; in: Joseph Anton Nikolaus Settegast 1813–1890. Retrospective on the 100th anniversary of the death of a late Nazarene; Neuss: Clemens-Sels-Museum 1990, pp. 39–51.
  • Veit Valentin:  Veit, Philipp . In: Allgemeine Deutsche Biographie (ADB). Volume 39, Duncker & Humblot, Leipzig 1895, pp. 546-551.

Individual evidence

  1. ^ Friedrich Noack : The Germanness in Rome since the end of the Middle Ages . Deutsche Verlagsanstalt, Stuttgart 1927, Volume 2, p. 226
  2. ^ Philipp Veit , biography in the portal frankfurt-lese.de , accessed on January 19, 2018
  3. ↑ Sebastian Hensel: The Mendelssohn Family , Volume I, Pages 232 and 233.
  4. ^ Heinz Schomann: Frankfurt am Main and the surrounding area . DuMont, Cologne 1996, ISBN 3-7701-2238-0 , pp. 79 .
  5. ^ Noise in the academy in FAZ from July 22, 2017, page 38
  6. ↑ Philipp Veit , website in the findagrave.com portal

Web links

Commons : Philipp Veit  - Collection of images, videos and audio files
personal data
SURNAME Veit, Philipp
ALTERNATIVE NAMES Veit, Feibisch
BRIEF DESCRIPTION German painter
DATE OF BIRTH February 13, 1793
PLACE OF BIRTH Berlin
DATE OF DEATH December 18, 1877
Place of death Mainz