Veit
PHILIPP (fit), a German painter; born in Berlin, Prussia, Feb. 13, 1793. His mother, a daughter of Moses Mendelssohn, had for her second husband Friedrich Schlegel and Veit became devotedly attached to the religious and artistic ideas of his stepfather, VELASQUEZ celebrated by his statues. His works include: "Christ Raising the Daughter of America"; "The Last Days of Napoleon"; "Spring"; etc. He was made an officer of the Legion of Honor in 1867.
America"; "The Last Days of Napoleon"; "Spring"; etc. He was made an officer of the Legion of Honor in 1867.
He died in Bellinzona, Ticino, Oct. 3, 1891. a Portuguese family in Seville, June 5, like whom he embraced Catholicism. manifested by tolerance of the painful After finishing his studies at Dresden, he proceeded to Rome in 1815, and became a prominent member of that band of young German painters who sought to infuse into modern art the purity all the associates Veit ventured farthest and allegory. His first famous work a Portuguese family in Seville, June 5, 1599. From the studio of Francisco he married in 1620. His early art, humble in aim and somewhat vulgar in type, is seen at its best in the "Waterexperience has been ascribed a certain teristic vigor and keenness. To this early experience has been ascribed a certain want of elevation in his later work, an absence of the higher eclectic spirit where in the year following his portrait of Philip IV., a wonderful portrait of whom at once established the fame of the painter. As court painter he produced many portraits of the royal family including one of Charles I. of England, which has been lost. Velasquez formed and of illustrious visitors, the latter a cordial friendship with Rubens during the "Seven Years of Plenty," executed which has been lost. Velasquez formed and allegory. His first famous work was "Seven Years of Dearth," and forming the diplomatic visit of the Fleming to part of a series of frescoes illustrative Madrid in 1628. In 1629-1631 he made a of the history of Joseph, painted at the tour in Italy visiting Rome, Naples, Villa Bartholdy in Rome. Other pictures Florence, Venice, etc., and being reof his Roman period are: "The Triumph ceived everywhere with the highest dissympathetically of Religion" (Vatican), "Scenes from tinction. His style, already developed, of his Roman period are: "The Triumph bears little trace of Italian influence, but of Religion" (Vatican), "Scenes from his admiration was sympathetically touched by the glory of Venetian art, These procured him so great a reputa- and he expressly records his preference tion that he was called in 1830 to the for Titian over Raphael and Michael directorship of the Art Institute in Angelo. On his return to Madrid he Frankfort-on-the-Main. While holding made rapid progress in the royal favor; this position he produced many grand pictures, of which the most celebrated is the large fresco (at the Institute) representing "Christianity Bringing the Fine Arts to Germany." In 1843 he removed to Sachsenhausen, opposite Frankfort, in 1853 to Mainz. He died in Mainz, Dec. 18, 1877. moved to Sachsenhausen, opposite Frankfort, in 1853 to Mainz. He died in Mainz, Dec. 18, 1877. but in 1836 turned his attention to drawing. In 1847 he settled in Rome, and in 1848 was a volunteer in the Italian army during the war against Austria. He later removed to Turin and became was made rapid progress in the royal favor; was made royal Ayuda de Camera or chamberlain (1643); his studio was removed to the palace, and there in friendspent much of his leisure. ly converse with the painter the king spent much of his leisure.
Velasquez' grateful conduct to the dis- Velasquez' grateful conduct to the dishe was sent by the king to Italy, commissioned to buy works of art. At Rome he painted the portrait of Innocent X., which is now the gem of the Doria gallery. He was subsequently appointed Aposentador Mayor, or royal seneschal, and in 1659 received the Cross of Santiago, an honor till then reserved for the highest nobility. But Valasquez did VELAZQUEZ not thrive under the load of honors; his health gave way in the service of the court; and he died in Madrid, Aug. 6, 1660. Though there are specimens of Velasquez in the galleries of London, Paris, Vienna, Munich, etc., it is only at Madrid that the range and resource of his art can be duly estimated. His portraits are not mere, "sallow, mustachioed Spaniards in black cloaks," but veritable human counterfeits, strong, vivid types of individuality, instinct with the subtlest shades of expression.
The "Adoration of the Magi," his earliest-known picture, bears the date 1619, VELASQUEZ and among his better-known works are the "Boracchos," "Forge of Vulcan," "Joseph's Coat," at," "Surrender of Breda," a "Crucifixion," "Dwarfs," "Coronation of the Virgin," "The Meniñas" or "la Familia" (royal family), the "Hilanderas" or "Spinners," and, his last, "St. Anthony the Abbot Visiting the First Hermit St. Paul in the Desert" (1659), of which Wilke says it has "the very same sun we see, and the air we breathe, the very soul and spirit of nature."