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.
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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.
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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.
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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:
