Editing Philipp Veit (section)

==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 [[Middle Ages]] and of the early [[Renaissance]] and living a nearly monastic existence similar to the medieval artist's workshop (with almost entirely Christian patrons), a reason why the artists' group was named according to the medieval [[Guild of Saint Luke|guilds of painters]] or ''Lukasbund ''(Brotherhood of St Luke). In 1816, Veit joined the brotherhood which inhabited—or had occupied—the abandoned monastery of [[Sant'Isidoro a Capo le Case|Sant'Isidoro]].<ref>{{Cite book |last=Locher |first=Hubert |title=Deutsche Malerei im 19. Jahrhundert |publisher=Wissenschaftliche Buchgesellschaft |year=2005 |isbn=9783534162963 |location=Darmstadt |pages=16–18, esp. 17 |language=de}}</ref> Since 1815, [[Johann Friedrich Overbeck]], [[Peter von Cornelius]], [[Friedrich Wilhelm von Schadow|Friedrich Wilhelm Schadow]], and later Veit frescoed a room in the "Casa Bartholdy" called [[Palazzo Zuccari, Rome|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 Museums|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''.<ref>{{Cite web |last=Macchi |first=David |date=22 October 2014 |title=Vatican Museums – Chiaramonti Museum |url=http://romapedia.blogspot.com/2014/10/vatican-museums-chiaramonti-museum-old.html |access-date=15 April 2022 |website=Romapedia}}</ref> 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.<ref>{{Cite book |last=Suhr |first=Norbert |title=Philipp Veit (1793–1877): Leben und Werk eines Nazareners. Monographie und Werkverzeichnis |publisher=VCH Verlagsgesellschaft mbH |year=1991 |isbn=978-3527177097 |location=Weinheim |pages= 244|language=de}}</ref> Among the frescoes in the [[Villa Giustiniani Massimo|Casino Massimo]],<ref>{{Cite web |date=2019–2021 |title=Giustiniani palace at the Lateran - Massimo Lancellotti Casino |url=https://www.culturalheritageonline.com/location-4306_Villa-Giustiniani-Massimo---Casino-Massimo-Lancellotti.php |access-date=29 March 2022 |website=CulturalHeritageOnline}}</ref> 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|Dante Alighieri's]] [[Divine Comedy]].<ref>{{Cite book |last=Novotny |first=Fritz |title=Painting and Sculpture in Europe 1780–1880 |publisher=Yale University Press |year=1995 |location=New Haven, CT |pages=114 |language=en}}</ref> At the same time, around 1824, Veit was commissioned by the canon [[Immanuel Christian Leberecht von Ampach|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.<ref>{{Cite web |last=Suhr |first=Norbert |date=2016 |title=Veit, Philipp |url=https://www.deutsche-biographie.de/pnd118804111.html#ndbcontent |access-date=3 April 2022 |website=Neue Deutsche Biographie}}</ref> In 1821, Veit had married a young girl, Carolina Pulini (1807–1890), the daughter of his landlord, the sculptor Gioacchino Pulini (1777–1857).<ref>{{Cite web |last=Noack |first=Friedrich |date=2006 |title=Schede Noack: Künstler in Rom |url=http://db.biblhertz.it/noack/noack.xql?lang=de&id=7789 |access-date=1 May 2022 |website=Bibliotheca Hertziana Max-Planck-Institut für Kunstgeschichte}}</ref> 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 [[Franz Ludwig Catel|Franz Ludwig Catel's]] famous group portrait ''Crown Prince Ludwig in the Spanish Wine Tavern in Rome''; Veit is said to be the person sitting between the two standing figures of von Wagner and Dr. Ringseis on the right side of the table.  In 1829–30, Veit executed a [[Immaculate Conception|''Maria Immaculata'']] for the Capella Orsini (a northern chapel) of [[Santa Trinità dei Monti]], moreover the last work of his Roman period, with clear stylistic impact of Raphael and Perugino.