PHILIPP See also:

• PHILIPP VEIT (1793-1877)

VEIT (1793-1877)  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, one of the leaders of the German romantic school, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin . Having received his first See also:

• ART

art See also:

• EDUCATION

education in See also:

• DRESDEN

Dresden and See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, he was strongly influenced by, and joined the See also:

• GROUP

group of, the See also:

• NAZARENES (Nag'copaiot)

Nazarenes in See also:

• ROME
• ROME (Roma)

Rome, where he worked for some years before taking up his See also:

• ABODE (from " abide," to dwell, properly " to wait for ," to bide)

abode in See also:

• FRANKFORT

Frankfort . In this See also:

• CITY (through Fr. cite, from Lat. civitas)

city, where his most important See also:

• WORKS

works are preserved at the Staedel See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute, he was active from 183o to 1843, as director of the art collections and as See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of See also:

• PAINTING

painting . From 1853 to his See also:

• DEATH

death in 1877 he held the See also:

• POST

post of director of the municipal See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery at Mayence . Like his See also:

• FELLOW

fellow-Nazarenes he was more draughtsman than painter, and though his sense of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour was stronger than that of Over-See also:

• BECK (or BEEK), DAVID (1621—1656)
• BECK, CHRISTIAN DANIEL (1757-1832)
• BECK, JAKOB SIGISMUND (1761-1840)

beck or See also:

• CORNELIUS
• CORNELIUS, CARL AUGUST PETER (1824-1874)
• CORNELIUS, PETER VON (1784–1867)

Cornelius, his works are generally more of the nature of coloured cartoons than of paintings in the See also:

• MODERN

modern sense . His See also:

• PRINCIPAL

principal See also:

• WORK

work is the large See also:

• FRESCO (Ital. for cool, " fresh ")

fresco of "The Introduction of See also:

• CHRISTIANITY

Christianity into See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany by St See also:

• BONIFACE (Bonifacius)
• BONIFACE, SAINT (680-754)

Boniface," at the Staedel Institute in Frankfort . In the See also:

• CATHEDRAL

cathedral of that city is his " See also:

• ASSUMPTION, FEAST OF

Assumption," whilst the Berlin See also:

• NATIONAL

National Gallery has his painting of " The Two Marys at the See also:

• SEPULCHRE, CANONS REGULAR OF THE HOLY
• SEPULCHRE, EASTER
• SEPULCHRE, THE HOLY

Sepulchre." To See also:

• VEIT, PHILIPP (1793-1877)

Veit is due the See also:

• CREDIT (Lat. credere, to believe)

credit of having been the first to revive the almost forgotten technique of fresco painting . See Kunst, Kiinstler and Kunstwerke, by Valentin Veit .