Eduard Schleich the Elder stands as a pivotal figure in the evolution of German landscape painting during the 19th century. Born on October 12, 1812, in Haarbach, near Landshut in Bavaria, and passing away on January 8, 1874, in Munich, Schleich carved a significant niche for himself, primarily through his evocative depictions of the Bavarian countryside. He is widely recognized as a crucial forerunner of plein air painting within Germany, skillfully capturing the atmospheric nuances and natural beauty of his homeland. His life and work unfolded mainly in Munich, the vibrant artistic capital of Bavaria, where he became an influential presence.
Early Life and Artistic Awakening
Schleich's journey into the art world was not one paved by traditional academic routes. Born into the family of a minor judicial official, his initial path seemed destined away from the arts. However, a passion for drawing emerged early. He moved to Munich around 1823, hoping to gain formal training at the prestigious Munich Academy of Fine Arts. His application, however, was met with rejection, a setback that ultimately fostered a spirit of independence and self-reliance in his artistic development.
Undeterred by the Academy's decision, Schleich embarked on a path of self-education. He diligently studied the works of Old Masters housed in Munich's galleries, particularly drawn to the landscape traditions of the Dutch Golden Age. Artists like Jacob van Ruisdael and Meindert Hobbema likely provided early inspiration through their mastery of composition, light, and atmospheric depth. He also initially tried his hand at historical painting, a genre highly favored by the Academy at the time, but soon realized his true calling lay in capturing the world around him.
The Turn Towards Landscape and Plein Air
The decisive shift in Schleich's artistic direction came through his engagement with contemporary landscape painting and, crucially, through direct observation of nature. He began to move away from the idealized, often historically or mythologically themed landscapes favored by the Romantic tradition prevalent in early 19th-century Germany. Instead, he sought a more intimate and truthful representation of the Bavarian scenery he knew so well.
A key catalyst for this change was his growing awareness of international art movements, particularly the French Barbizon School. Though perhaps not through direct contact initially, the spirit of the Barbizon painters – figures like Jean-Baptiste-Camille Corot, Théodore Rousseau, and Charles-François Daubigny – resonated with Schleich. Their emphasis on painting directly from nature (en plein air), their focus on capturing mood and atmosphere over meticulous detail, and their preference for humble, rural scenes profoundly influenced his approach. The work of the English master John Constable, known for his revolutionary cloud studies and fresh depictions of the English countryside, also likely informed Schleich's developing style.
Schleich became one of the first German artists to wholeheartedly embrace the principles of plein air painting. He spent considerable time outdoors, sketching and painting in the immediate vicinity of Munich and venturing further into the Bavarian Alps and the surrounding plateaus. This direct engagement with the landscape allowed him to study the fleeting effects of light, weather, and atmosphere with an unprecedented immediacy for German art of that period.
Mastering the Bavarian Scenery
Schleich's artistic identity became inextricably linked with the landscapes of Bavaria. He possessed an extraordinary ability to convey the specific character of the region. His canvases often depict the wide, flat plains around Munich, the rolling foothills of the Alps, the serene beauty of lakes like the Starnberger See (Lake Starnberg), and the unique, often melancholic atmosphere of the Dachauer Moos (Dachau Moor).
He was particularly adept at rendering skies, capturing the drama of gathering storms, the soft glow of twilight, or the clear light of a summer day. His skies are rarely mere backdrops; they are active components of the composition, setting the mood and defining the light that falls upon the land below. This focus on atmospheric effects, learned partly from the Dutch masters and refined through the lens of Barbizon naturalism, became a hallmark of his style.
His depictions often included elements of rural life – grazing cattle, sheep returning home, simple farmhouses, or figures working the land. However, these elements usually remain subordinate to the landscape itself, serving to enhance the sense of place and scale rather than forming the primary subject. The overall impression is one of quiet intimacy and a deep, personal connection to the Bavarian environment.
Representative Works
Eduard Schleich the Elder's oeuvre consists primarily of landscapes that capture the essence of Bavaria. Among his most characteristic and celebrated works are:
_Landscape near Munich_: This title encompasses numerous works depicting the expansive countryside surrounding the city. These paintings typically showcase his skill in rendering wide, open spaces, dramatic skies, and the subtle interplay of light and shadow across the plains. They exemplify his early adoption of plein air principles.
_View of Lake Starnberg_ (_Blick auf den Starnberger See_ or _Ernte am Starnberger See_): Lake Starnberg, south of Munich, was a recurring motif for Schleich. His views of the lake often capture its tranquil beauty, sometimes featuring harvest scenes along its shores or dramatic cloud formations reflected in its waters. These works highlight his ability to depict water and atmospheric conditions.
_Alpine Landscape_ (_Alpenlandschaft_): While often focusing on the flatter regions, Schleich also painted the Bavarian Alps. These works convey the grandeur of the mountains, often focusing on the atmospheric effects created by altitude and weather, rather than purely topographical detail.
_Oberbayrische Ebene mit heimziehendes Schafherd_ (Upper Bavarian Plain with Homeward Bound Flock of Sheep): This painting is typical of his pastoral scenes, combining a broad landscape view with elements of rural life. The homeward-bound sheep add a touch of gentle melancholy and movement to the tranquil setting.
_View from Karlsberg Dachau facing the mountains_: This work specifically places the viewer within the Dachau region, looking towards the distant Alps. It underscores his role in popularizing the Dachau area as an artistic subject, capturing its unique topography and light.
These works, often modest in scale but rich in atmosphere, are found in major German collections, including the Neue Pinakothek in Munich, and continue to be appreciated for their lyrical beauty and historical significance.
Friendships and Collaborations: The Munich Circle
Eduard Schleich the Elder was not an isolated figure; he was an active participant in the Munich art scene and formed significant relationships with fellow artists. His most important artistic friendship was undoubtedly with Carl Spitzweg (1808-1885), the renowned Biedermeier painter famous for his humorous and anecdotal genre scenes.
Despite their different primary subjects, Schleich and Spitzweg shared a deep appreciation for nature and often embarked on sketching trips together, particularly in the Bavarian Alps. They influenced each other significantly. Schleich is credited with encouraging Spitzweg to pay greater attention to landscape elements and atmospheric effects in his own work. Conversely, Spitzweg's meticulousness might have occasionally informed Schleich's rendering of details or staffage figures. There are accounts of them exchanging paintings and even collaborating on works, though the extent of direct collaboration is debated. Their friendship represents a fascinating intersection of landscape and genre painting within the Munich school.
Schleich was also associated with other prominent Munich artists. He moved in circles that included figures like Carl Rottmann (1797-1850), known for his monumental cycles of Italian and Greek landscapes, although Rottmann represented an earlier, more idealized phase of landscape painting. Schleich's generation represented a shift towards greater naturalism. He also maintained connections with influential figures like the portrait painter Franz von Lenbach (1836-1904), who later became a significant art collector.
His presence contributed to the vibrant artistic milieu of Munich, which, alongside Düsseldorf, was a leading center for art in 19th-century Germany. He participated in exhibitions organized by the Munich Kunstverein (Art Association), helping to promote landscape painting as a significant genre.
The Dachau Connection and Artistic Discovery
Schleich played a pioneering role in recognizing the artistic potential of the Dachauer Moos, the extensive moorland northwest of Munich. Before it became famous as the site of a major artists' colony in the late 19th and early 20th centuries, Schleich was among the first painters to be captivated by its unique atmosphere – its wide, flat expanses, meandering streams, peat cuttings, and dramatic, ever-changing skies.
His paintings of the Dachau Moos helped to establish it as a legitimate and compelling subject for landscape art. He captured its specific light and melancholic beauty, moving beyond conventional picturesque motifs. By exploring and depicting this area, Schleich paved the way for later generations of artists who would form the Dachau artists' colony, including figures like Ludwig Dill (1848-1940), Adolf Hölzel (1853-1934), and Arthur Langhammer (1854-1901). While Schleich himself was not part of the formal colony (which flourished later), his early engagement with the region was foundational.
Technique, Style, and Innovation
Schleich's technique evolved throughout his career but consistently reflected his commitment to capturing atmospheric truth. His brushwork, initially perhaps more detailed, became increasingly free and suggestive, particularly in his later works, allowing him to convey the effects of light and air more effectively. His palette was carefully attuned to the nuances of natural light, often employing subtle tonal gradations and a harmonious blend of colors to create a unified mood.
He developed a preference for relatively small canvases, often in a nearly square format sometimes referred to as the "Taschentuchformat" or "handkerchief format." This intimate scale suited his focus on mood and atmosphere rather than epic grandeur. It encouraged viewers to engage closely with the scene, appreciating the subtle details of light and texture. This format was quite distinctive for landscape painting at the time and contributed to the intimate, personal quality of his work.
His style can be seen as a bridge between the late Romantic/Biedermeier traditions and the emerging Realism that would lead towards Impressionism. While deeply rooted in observation, his paintings are not merely topographical records; they are imbued with a lyrical, often melancholic feeling, reflecting a subjective response to the landscape. He masterfully balanced fidelity to nature with artistic interpretation.
Travels and Broadening Horizons
While Bavaria remained his primary source of inspiration, Schleich understood the importance of broadening his artistic horizons through travel. In the early 1850s, he undertook significant journeys. A trip to Paris in 1851 was particularly important. There, he had the opportunity to study the works of the Old Masters in the Louvre and, crucially, to see firsthand the paintings of the contemporary Barbizon School artists whose work he already admired. This direct exposure likely confirmed and deepened his commitment to naturalism and plein air painting.
His travels also took him to other parts of Germany, to Italy, and to Austria, specifically the region of Styria. He also explored the dramatic landscapes of the Bernese Oberland in Switzerland. These excursions provided him with fresh motifs and perspectives, enriching his understanding of different types of landscapes and light conditions. However, he always returned to his native Bavaria, translating his experiences into his characteristic style.
Teaching and Enduring Influence
Later in his career, Eduard Schleich the Elder gained official recognition despite his unconventional start. He was appointed a professor at the Munich Academy of Fine Arts, the very institution that had initially rejected him. This position allowed him to formally pass on his knowledge and approach to a new generation of artists.
His influence extended through his teaching and his example. He inspired numerous younger painters to turn towards landscape and embrace plein air methods. Among his most notable followers were the brothers Josef Willroder (1838-1915) and Ludwig Willroder (1845-1910). Ludwig, in particular, came to Munich specifically to benefit from Schleich's guidance around 1866 and became a significant landscape painter in his own right, working in a style clearly indebted to Schleich.
Schleich's impact went beyond his direct students. He helped to shift the focus of German landscape painting away from the highly finished, often idealized studio productions of the earlier 19th century towards a more direct, atmospheric, and emotionally resonant engagement with nature. He demonstrated that the local Bavarian landscape held as much artistic potential as the traditionally favored Italian or Alpine scenes. Other artists associated with the Munich school, like Otto Strützel (1855-1930), also show affinities with Schleich's approach to light and landscape.
Later Life and Legacy
Eduard Schleich the Elder remained active as a painter until his death in Munich in 1874. He left behind a substantial body of work that solidified his reputation as one of the leading German landscape painters of his time. His son, Eduard Schleich the Younger (1853-1893), also became a painter, continuing the family name in the art world, though his style differed.
While perhaps not achieving the same level of international fame during his lifetime as some of his French contemporaries, Schleich the Elder's importance within the context of German art history is undeniable. He played a crucial role in introducing and popularizing plein air painting in Germany, influencing generations of artists who followed. He masterfully captured the specific character and atmosphere of the Bavarian landscape, creating works that are both truthful representations and poetic interpretations.
His legacy lies in his sensitive rendering of light and atmosphere, his intimate connection to his native scenery, and his role as a transitional figure who absorbed influences from the Dutch Masters and the Barbizon School to forge a distinctly German mode of landscape realism. His works continue to be admired for their quiet beauty and their pioneering spirit, securing his place as a key figure in the rich tapestry of 19th-century European art.
Conclusion: A Bavarian Visionary
Eduard Schleich the Elder remains a cornerstone of 19th-century German landscape painting. As a largely self-taught artist who rose to become an influential professor, he embodied a spirit of independent inquiry. His dedication to painting outdoors and his profound sensitivity to the nuances of light and atmosphere marked a significant departure from earlier traditions, paving the way for Realism and Impressionism in Germany. Through his intimate and evocative depictions of the Bavarian plains, lakes, and moors, often rendered in his characteristic modest formats, he not only captured the soul of his homeland but also significantly shaped the future direction of landscape art in his country. His close association with figures like Carl Spitzweg and his foundational work in areas like the Dachau Moos further highlight his central role in the artistic life of Munich and beyond. Eduard Schleich the Elder's legacy endures in his beautiful canvases and his lasting impact on the artists who followed his path.
