Editing Philipp Veit (section)

==Frankfurt==
In October 1830, Veit arrived in Frankfurt on Main together with his wife Carolina and their five children. In Frankfurt on Main, where his most important works are preserved at the [[Städel]], he was active from 1830 to 1843 as director of the art collections and as professor of painting. Among his most renowned pupils are [[Alfred Rethel]] and [[Eduard von Steinle|Edward von Steinle]]. Around 1832, Veit decided for the first time to depict subjects of ancient mythology (e.g. ''Shield of Achilles'') on the ceiling of one of the Städel's "Antikensäle". Other decorations for the old Städel building were the frescoes ''Die Einführung der Künste durch das Christentum in Deutschland'' (The Arts Being Introduced to Germany by Christianity) with the allegories of [[Germania (painting)|Germania]] and ''Italia''.<ref>{{Cite web |date=2022 |title=Digital Collection |url=https://sammlung.staedelmuseum.de/en/work/the-arts-being-introduced-to-germany-by-christianity |access-date=23 May 2022 |website=Sammlung Städelmuseum}}</ref> Originally, the three-parted fresco adorned the old premises of the Institute in Neue Mainzer Straße. Actually, it displays a conversion scene (through the sermon of [[Saint Boniface]]) in the centre-panel while the allegories of ''Germania'' and ''Italia'' on the side panels represent secular and spiritual power.<ref>{{Cite book |last=Wagner |first=Monika |title=Allegorie und Geschichte. Ausstattungsprogramme öffentlicher Gebäude des 19. Jahrhunderts in Deutschland |publisher=Ernst Wasmuth Verlag |year=1989 |isbn=3803019087 |location=Tübingen |pages=92–93; ill. 35 |language=de}}</ref> It was removed in 1877 and transferred into the new building. On the occasion of the national assembly of 1848, for which [[Saint Paul's Cathedral]] of Frankfurt on Main was used as an assembly hall, Veit executed a second version of the ''Germania''-painting (oil on canvas) which hung in full view on the wall above the chair people as an appeal to all German states to create a unitary constitution during the first all-German Parliament.<ref>{{Cite book |last=Wagner |first=Monika |title=Allegorie und Geschichte. Ausstattungsprogramme öffentlicher Gebäude des 19. Jahrhunderts in Deutschland |publisher=Ernst Wasmuth Verlag |year=1989 |isbn=3803019087 |location=Tübingen |pages=93; ill. 34 |language=de}}</ref><ref>{{Cite web |date=23 May 2022 |title=Objektkatalog |url=http://objektkatalog.gnm.de/objekt/Gm608 |access-date=23 May 2022 |website=Germanisches Nationalmuseum Nürnberg}}</ref> Between 1840 and 1852, four so-called portraits of German rulers (which were, actually, pictures of Holy Roman emperors) were painted by Veit: ''Friedrich II.'' ([[Frederick II, Holy Roman Emperor]]), ''Heinrich VII.'' ([[Henry VII, Holy Roman Emperor]]), ''Otto der Große'' ([[Otto the Great]]) and ''Karl der Große'' ([[Charlemagne]]) as donation for the "Kaisersaal" (Emperor's Hall) in the City Hall of Frankfurt.

From 1853 till his death in 1877 he held the post of director of the municipal gallery in [[Mainz]]. 
Like his fellow Nazarenes he was more [[Technical drawing|draughtsman]] than painter, and though his sense of colour was stronger than that of [[Johann Friedrich Overbeck|Overbeck]] or [[Peter von Cornelius|Cornelius]], his works are generally more of the nature of coloured cartoons than of paintings in the modern sense.<ref name="EB1911"/>

Among Veit's other principal works is his ''Assumption'' in the Frankfurt Cathedral, while the [[Alte Nationalgalerie]] of Berlin has his painting of ''The Two Marys at the Sepulchre''.<ref name="EB1911"/>
Veit died in Mainz.