Christian Andreas Schleisner
Kongens Lyngby, 02-11-1810 – Copenhagen, 13-07-1882, painter
Kunstakad. KBH. 1823, modelsk. 1828-33, little sølvmed. 1831, st. sølvmed. 1833; conclusion. in vain on small guldmed. 1835, 1837, 1839; pupil of J. L. Lund and C.A. Jensen.
Travel and stay abroad:
München 1841-42; Paris 1855; Netherlands, Tyrol (?); Italy 1866.
Scholarships and honours:
Academy. 1841-42, agreeret at the Academy. 1847, Member. 1852; titular Prof. 1858; Ancker 1866.
URst.kom. by Charl. borg to 1863.
Charl. Spring 1832-34, 1836-41, 1843-47, 1849-51, 1853-56, 1859, 1861-71, 1873, 1876, 1878-83; Dog show. KBH. Univ. 1843; verdensudst., London, 1862; North. Kunstudst., Cph. 1872; Artist foren. of 18. Nov., 1882; Theaterudst., Cph. 1898; Raadhusudst., Cph. 1901.
C.a. Schleisner searched the College years to train for the history painter, but selected after several rejected the competition work to concentrate on genre painting and, to a lesser extent, the portrait. The early genre paintings were mostly cheerful scenes from urban life with clear address to both the Dutch 1600-century art as related image types in the contemporary German painting. Probably encouraged by his German-oriented teacher at the Art Academy, J.L. Lund, ended up SCHLEISSNER 1841 to the Danish artist colony in Munich, where the benchmark German genremaleri largely came to determine the nature of the SCHLEISSNER genre pictures. In particular with regard to the choice of pointed anecdotes with comical, sometimes lavkomiske, and sentimentalt-touching content that mostly played out among craftsmen and small traders in work situations and incidents or at taverns. For N.L. Høyen was SCHLEISSNER a bogey on the unlucky influence from foreign art, and SCHLEISSNER belonged to as j. Friedlænder, n. S and d. Monies the internationally oriented, but not particularly influential, opposition to Høyenianerne, which is known under the name Europeans. SCHLEISSNER, however, sought to comply with the art institution's expectations for national motives and performed, among other things. a number of peasant livsskildringer and single character's portraits of mostly young peasant girls. Art history has been rough in its assessment of the SCHLEISSNER in its eagerness to accommodate a rapidly growing demand, he carried out a quantity of småredigerede versions of the most popular motifs. Artists such as SCHLEISSNER, Friedlænder, Monies, but also D, Exner and Sonne performed a large number of anecdotal genre paintings that are not attracting special artistic interest, but instead as a parallel to the accelerating entertainment industry embraced as significant contribution to Danish popular culture's early history. In parallel with genre painting was SCHLEISSNER from the beginning of 1850erne assigned to a number of altertavle tasks. In particular, seems his variations on one of the period's most frequent religious motifs, Christ in Gethsemane that have been popular. The sentimentalt-touching is combined here with an artistic idealitets quest that is anchored in a from J.L. Lund disseminated German romantic idealism that characterised much of the contemporary religious painting.