Page:Cyclopedia of painters and paintings - Volume I.djvu/165

 Schwerin Gallery; Peasants in Tavern (1663), Peasant Family, Weaver's Room, Hermitage, St. Petersburg; Weaver's Room, Peterhof; Lute Player (1662), Peasant Family, Peasants in a Tavern, Berlin Museum; Peasants Dancing, Dresden Gallery; do., Old Pinakothek, Munich; Room with Peasants, Room with two Women (attributed to S. van Hoogstraeten), Vienna Museum; Satyr Blowing Warm and Cold, Pesth Museum; Lute Players, Card Players, Uffizi, Florence; One (1662), Dublin Gallery.—Ch. Blanc, École hollandaise; Meyer, Künst. Lex., iii. 290; Van der Willigen, 75.

BEGAS, ADALBERT FRANZ EUGEN, born in Berlin, March 5, 1836. History, genre, and portrait painter, third son of Karl Begas. Studied engraving for five years under Lüdnitz, in 1860 went to Paris and copied in the Louvre, and in 1862 to Weimar, where he became the pupil of Böcklin. Visited Italy in 1863-69, and made copies of Titian and Raphael. Painted originally idyllic and mythological pictures and a great many very good portraits. Works: Portrait of himself (1860), Mother and Child (1863), National Gallery, Berlin; Portrait of a Lady (1866), Cupid and Psyche (1867); Resurrection (1868); St. Cecilia (1869); Cupid finding Psyche (1870); Das Volkslied, Othello and Desdemona, Genii of Spring (1881); In Midsummer (1881); The Last Friend, Little Beginnings, Portraits.—Brockhaus, ii. 690; Meyer, Künst. Lex., iii. 305; Müller, 38; Illustr. Zeitg. (1871), ii. 211; Rosenberg, Berl. Malersch., 76.

BEGAS, KARL, born at Heinsberg, Sept. 30, 1794; died in Berlin, Nov. 24, 1854. History and portrait painter. Studied at Bonn in 1801, under Philippart, and at Paris in 1812, under Gros. Passed successively under the influence of the old German and early Italian masters. Went to Italy in 1822, and in 1834 returned to Berlin, where he at first painted in the style of the so-called Nazarenes (German Pre-Raphaelites); but afterwards treated history and genre in the romantic style of the Düsseldorf school. He painted portraits of many celebrated persons, such as Humboldt, Schelling, Cornelius, Mendelssohn, etc., and was long court painter and professor at the Berlin Academy. Works: Christ on Mount of Olives (1818), Garnisonskirche, Berlin; Coming of the Holy Ghost (1821), Cathedral, ib.; Resurrection (1827), Werder Church, ib.; Tobias and the Angel (1835), Portrait of Thorwaldsen, National Gallery, ib.; Baptism of Christ, Garnisonskirche, Potsdam; Portrait of his Parents (1821), Cologne Museum; Sermon on the Mount (1831); Exposing of Moses (1832); Lurley (1834); Henry IV. at Canossa (1836); Maiden from Afar, Mediæval King listening to Page playing the Harp (1838); Glorification of Christ (1839); Christ prophesying the Fall of Jerusalem (1840); Three Girls resting in the Shade of an Oak (1842); Mohrenwäsche (1842); replica, National Gallery, Berlin; do., Ravené Gallery, ib.; Christ on Mount of Olives (1842); Christ Calling the Heavy Laden (1844); Christ Crucified (1846); Adam and Eve beside the Body of Abel (1848); Betrayal of Our Lord (1852).—Allgem. d. Biogr., ii. 269; Ch. Blanc, École allemande; Merlo, 33; Meyer, Künst. Lex., iii. 300; Raczynski, iii. 27; Rosenberg, Berl. Malersch., 61.

BEGAS, OSKAR, born in Berlin, July 31, 1828, died there, Nov. 10, 1883. History and portrait painter, son and pupil at Berlin Academy of Karl Begas; went in 1852 to Rome, and after his return, in 1854, devoted himself chiefly to portrait painting. Works: