Life and work
Philipp Veit was a son of the banker Simon Veit and the eldest daughter of Moses Mendelssohn, Dorothea Friederike Brendel. After her parents divorced in 1799 Philipp Veit initially remained in the mother and lived with her and her new husband Friedrich Schlegel in Jena, Paris and Cologne, before he returned to his father in 1806 to Berlin, and there finished his education. In 1808 Philipp Veit studied painting at the Art Academy in Dresden. Among his teachers there Frederick Matthai, in whose training already Vitus older brother Jonas stood belonged.
During the War of Independence he became friends with Joseph von Eichendorff and his lieutenant Friedrich de la Motte Fouqué. In 1814 he took his leave, painted a picture of Princess William, completed the portrait of the Countess Zichy and painted a picture for the church of the Holy City in Vienna before 1815 his brother to Rome followed, where he joined the German Romantics of the so-called Lukas League joined. Here he was involved with Peter von Cornelius, Wilhelm von Schadow Friedrich Overbeck and on the frescoes of the Casa Bartholdy, of which he (now in the National Gallery in Berlin ) uses Joseph in Potiphar's wife and the seven fat years. At the Villa Massimo, he painted scenes from Dante's "Divine Comedy " in fresco. On behalf of the Naumburg canons Immanuel Christian Leberecht von Ampach the painting Christ was born in 1820 on the Mount of Olives for Christ - cycle in Naumburg Cathedral.
Other works of his Roman period are a large altarpiece of the Queen of Heaven Mary ( in Trinita dei Monti in Rome ) and the triumph of religion ( the Vatican ). Appointed in 1830 as director of the Städel Institute in Frankfurt am Main, he also created here a number of ecclesiastical paintings, which appeared largely in engraving and lithography; as St. George in 1833 as an altarpiece for the St. George's Church to Bensheim, Simeon in the temple, the two Marys at the grave ( in the Berlin National Gallery ) and the large fresco painting in the Städel Institute, which in the introduction of Christianity and the Arts Germany has the subject, together with the two side images Italia and Germania. The works that he produced in Frankfurt, were " simple, beautiful and good ," praised by Felix Mendelssohn Bartholdy as, where he compares it to the works of Old Masters and Veit called an " upright artist's soul ."
Later Veit also attracted antique fabrics in the range of his art. In this regard, particularly the ceiling painting in the Städel Institute, ministry of the oldest Hellenic sculptor depicting, and the shield of Achilles by Homer ( pen and ink drawing, with gold, Municipal Museum ) highlight. For the Imperial Hall in Romans, he painted the portraits of Charlemagne, Otto IV and Frederick II in 1843, he gave the management of the Städel Institute, and moved his studio together with pupils from German religious house to Sachsenhausen, because he was a strict Catholic, thanks to the acquisition the painting Jan Hus felt insulted in front of the council of Constance by Carl Friedrich Lessing by the management of the Städel Institute. Here he created for the Frankfurt cathedral a large altarpiece, the Assumption of Mary, and for the King of Prussia the parable of the Good Samaritan, the Egyptian darkness, and their terror and for the choir niche of the planned Berlin Cathedral a draft of a fresco picture (now in the Berlin National Gallery ). As the German religious house in 1848 needed for a barracks, he moved to the Villa Metzler, in their ground floor of Gerhardt Reutern him and other artists invited to work.
In March 1848 Veit painted in a few weeks the big Germania picture, then the Pre-Parliament and the National Assembly in Frankfurt adorned as a programmatic vision in St. Paul's Church. It now hangs in the stairwell of the Germanic National Museum in Nuremberg.
1853 Veit took up residence in Mainz, where he was director of the collection of paintings and including a cycle of paintings for the Meßchor of Mainz Cathedral composed, which were executed by Joseph Anton Nicholas Settegast, August Gustav Lasinsky and T. Herrmann in fresco. He died on 18 December 1877, and was buried in the main cemetery Mainz. By the end of his life he remained the strict ascetic direction of his youth loyal, which was continued by his pupil Eduard Jakob von Steinle.