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See also:OVERBECK, JOHANN See also:FRIEDRICH (1789-1869) , See also:German painter, the reviver of " See also:Christian See also:art " in the 19th See also:century, was See also:born in See also:Lubeck on the 4th of See also:July 1789. His ancestors for three generations had been See also:Protestant pastors; his See also:father was See also:doctor of See also:laws, poet, mystic pietist and burgomaster of Lubeck. Within a See also:- STONE
- STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
- STONE, CHARLES POMEROY (1824-1887)
- STONE, EDWARD JAMES (1831-1897)
- STONE, FRANK (1800-1859)
- STONE, GEORGE (1708—1764)
- STONE, LUCY [BLACKWELL] (1818-1893)
- STONE, MARCUS (184o— )
- STONE, NICHOLAS (1586-1647)
stone's throw of the See also:family See also:mansion in the Konigstrasse stood the gymnasium, where the See also:uncle, doctor of See also:theology and a voluminous writer, was the See also:master; there the See also:nephew became a classic See also:scholar and received instruction in art.
The See also:young artist See also:left Lubeck in See also:March 1806, and entered as student the See also:academy of See also:Vienna, then under the direction of F. H. Fuger, a painter of some renown, but of the pseudo-classic school of the See also:French See also:David. Here was gained thorough knowledge, but the teachings and associations proved unendurable to the sensitive, spiritual-minded youth. Overbeck wrote to a friend that he had fallen among a vulgar set, that every See also:noble thought was suppressed within the academy and that losing all faith in humanity he turned inwardly on himself. These words are a See also:key to his future position and art. It seemed to him that in Vienna, and indeed throughout See also:Europe, the pure springs of Christian art had been for centuries diverted and corrupted, and so he sought out afresh the living source, and, casting on one See also:side his contemporaries, took for his guides the See also:early and pre-Raphaelite painters of See also:Italy. At the end of four years, See also:differences had grown so irreconcilable that Overbeck and his See also:band of followers were expelled from the academy. True art, he writes, he had sought in Vienna in vain—" Oh! I was full of it; my whole See also:fancy was possessed by Madonnas and Christs, but nowhere could I find response." Accordingly he left for See also:Rome, carrying his See also:half-finished See also:canvas " See also:Christ's Entry into See also:Jerusalem," as the See also:charter of his creed—" I will abide by the See also:Bible; I elect it as my See also:standing-point."
Overbeck in 1810 entered Rome, which became for fifty-nine years the centre of his unremitting labour. He was joined by a goodly . See also:company, including See also:Cornelius, Wilhelm See also:Schadow and See also:- PHILIP
- PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
- PHILIP, JOHN (1775-1851)
- PHILIP, KING (c. 1639-1676)
- PHILIP, LANOGRAVE OF HESSE (1504-1567)
Philip See also:Veit, who took up their See also:abode in the old Franciscan See also:convent of See also:San Isidoro on the Pincian See also:- HILL
- HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
- HILL, A
- HILL, AARON (1685-175o)
- HILL, AMBROSE POWELL
- HILL, DANIEL HARVEY (1821-1889)
- HILL, DAVID BENNETT (1843–1910)
- HILL, GEORGE BIRKBECK NORMAN (1835-1903)
- HILL, JAMES J
- HILL, JOHN (c. 1716-1775)
- HILL, MATTHEW DAVENPORT (1792-1872)
- HILL, OCTAVIA (1838– )
- HILL, ROWLAND (1744–1833)
- HILL, SIR ROWLAND (1795-1879)
Hill, and were known among See also:friends and enemies by the descriptive epithets— " the Nazarites," " the pre-Raphaelites," " the new-old school," " the German-See also:Roman artists," " the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church-romantic painters," " the German patriotic and religious painters." Their See also:precept was hard and honest See also:work and See also:holy living; they eschewed the See also:antique as See also:pagan, the See also:Renaissance as false, and built up'a severe revival on See also:simple nature and on the serious art of See also:Perugino, See also:Pinturicchio, See also:Francia and the young See also:Raphael. The characteristics of the See also:style thus educed were See also:nobility of See also:idea, precisionand even hardness of outline, scholastic See also:composition, with the addition of See also:light, shade and See also:colour, not for allurement, but chiefly for perspicuity and completion of See also:motive. Overbeck was See also:mentor in the See also:movement; a See also:fellow-labourer writes: " No one who saw him or heard him speak could question his purity of motive, his deep insight and abounding knowledge; he is a See also:treasury of art and See also:poetry, and a saintly See also:man." But the struggle was hard and poverty its See also:reward. Helpful friends, however, came in See also:Niebuhr, See also:Bunsen and See also:Frederick See also:Schlegel. Overbeck in 1813 joined the Roman See also:Catholic Church, and thereby he believed that his art received Christian See also:baptism.
Faith in a See also:mission begat See also:enthusiasm among kindred minds, and timely commissions followed. The Prussian See also:consul, Bartholdi, had a See also:house on the brow of the Pincian, and he engaged Overbeck, Cornelius, Veit and Schadow to decorate a See also:room 24 ft. square with frescoes (now in the See also:Berlin See also:gallery) from the See also:story of See also:Joseph and his Brethren. The subjects which See also:fell to the See also:lot of Overbeck were the " Seven Years of See also:Famine " and " Joseph sold by his Brethren." These tentative See also:wall-pictures, finished in 1818, produced so favourable an impression among the Italians that in the same See also:year See also:Prince See also:Massimo commissioned Overbeck, Cornelius, Veit and Schnorr to See also:cover the walls and ceilings of his See also:garden See also:pavilion, near St See also:John Lateran, with frescoes illustrative of See also:Tasso, See also:Dante and See also:Ariosto. To Overbeck was assigned, in a room 15 ft. square, the See also:illustration of Tasso's Jerusalem Delivered; and of eleven compositions the largest and most noteworthy, occupying one entire wall, is the " See also:- MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)
Meeting of See also:Godfrey de See also:Bouillon and See also:- PETER
- PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
- PETER (PEDRO)
- PETER, EPISTLES OF
- PETER, ST
Peter the See also:Hermit." The completion of the frescoes—very unequal in merit—after ten years' delay, the overtaxed and enfeebled painter delegated to his friend Joseph Ftihrich. The leisure thus gained was devoted to a thoroughly congenial theme, the " See also:Vision of St See also:Francis," a wall-See also:painting 20 ft. See also:long, figures See also:life See also:size, finished in 183o, for the church of Sta Maria degli Angeli near See also:Assisi. Overbeck and the brethren set themselves the task of recovering the neglected art of See also:fresco and of monumental painting; they adopted the old methods, and their success led to memorable revivals throughout Europe.
Fifty years of the artist's laborious life were given to oil and easel paintings, of which the See also:chief, for size and import, are the following: " Christ's Entry into Jerusalem " (1824), in the Marien Kirche, Lubeck; " Christ's Agony in the Garden " (1835), in the See also:great See also:hospital, See also:Hamburg; " Lo Sposalizio " (1836), Raczynski gallery, Berlin; the " See also:Triumph of See also:Religion in the Arts " (184o), in the Stadel Institut, See also:Frankfort; " Pieta " (1846), in the Marien Kirche, Luheck; the " Incredulity of St See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas " (1851), in the See also:possession of Mr See also:Beresford See also:Hope, See also:London; the " See also:Assumption of the Madonna " (1855), in See also:Cologne See also:Cathedral; "Christ delivered from the See also:Jews " (1858), See also:tempera, on a See also:ceiling in the Quirinal See also:Palace—a See also:commission from See also:Pius IX., and a See also:direct attack on the See also:Italian temporal See also:government, therefore now covered by a canvas adorned with Cupids. All the artist's See also:works are marked by religious fervour, careful and protracted study, with a dry, severe handling, and an abstemious colour.
Overbeck belongs to eclectic See also:schools, and yet was creative; he ranks among thinkers, and his See also:pen was hardly less busy than his See also:pencil. He was a See also:minor poet, an essayist and a voluminous See also:letter-writer. His style is wordy and tedious; like his art it is See also:borne down with emotion and possessed by a somewhat morbid " subjectivity." His pictures were didactic, and used as means of propagandas for his See also:artistic and religious faith, and the teachings of such compositions as the " Triumph of Religion and the Sacraments " he enforced by rapturous See also:literary effusions. His art was the issue of his life: his See also:constant thoughts, cherished in solitude and chastened by See also:prayer, he transposed into pictorial forms, and thus were evolved countless and much-prized drawings and cartoons, of which the most considerable are the Gospels, See also:forty cartoons (1852); Via Crucis, fourteen See also:water-colour drawings (x857); the Seven Sacraments, seven cartoons (1861). Over-See also:beck's compositions, with few exceptions, are engraved. His life-work he sums up in the words— " Art to me is as the See also:harp of David, whereupon I would See also:desire that See also:psalms should at all times be sounded to the praise of the See also:Lord." He died in Rome in
1869, aged eighty, and lies buried in San Bernardo, the church wherein he worshipped.
There are See also:biographies by J. Beavington See also:Atkinson (1882) and Howitt (r886). (J. B.
End of Article: OVERBECK, JOHANN FRIEDRICH (1789-1869)
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