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The Life and Family of Leonhard Faustner

Leonhard Faustner was born in Munich, Germany, on 16 February 1815. He grew up in a household tied to the service of the Bavarian court. His father worked as a royal Bavarian court saddler, a craftsman who served Kings Maximilian I. Joseph and Ludwig I. While the family trade involved leather and harness, Leonhard found his own way through the visual arts, eventually focusing his attention on glass, architecture, and landscape painting.

The lineage of painting continued into the next generation. His son, Luitpold Faustner, was born in 1845 and followed a similar path as a landscape painter. Luitpold remained active in the art world for many decades, living until 1925. This connection to the craft suggests a home where the technicalities of sight and form were a constant presence.

Artistic Training and Professional Career

His early years in Munich were marked by a pull toward the brush rather than the trade of his father, a royal Bavarian court saddler. This inclination led him toward the Academy of Fine Arts Munich. His path there was not without friction; an initial assessment from an academy professor was not favorable, yet he was eventually admitted to the institution to pursue his training.

His professional life became deeply intertwined with the light and color of Munich glass painting. He emerged as a significant figure in this medium during the 19th century. Following the death of Max Emanuel Ainmiller, he took over the leadership of the Royal Glass Painting Institute in Munich. His work in this capacity involved technical innovations and a focus on design that helped shape the direction of the institute.

Beyond the glass, his hands moved between different scales of vision. He worked on architectural and landscape paintings, capturing the physical world and the spaces within it. His output also included various decorative designs, showing a versatility that extended from large-scale glasswork to smaller, more intimate compositions.

Key Works and Artistic Contributions

Faustner’s hand moved between the delicate precision of glass and the broader strokes of the landscape. He was a significant figure in the Munich glass painting tradition, where he focused on technical innovations and the intricate design work required for the medium. His work in this field was not merely about color, but about how light interacts with the material, a skill that eventually led him to lead the Royal Glass Painting Institute in Munich.

Beyond the glass, his interests were varied. He produced architectural and landscape images, capturing the structures and natural settings of his time. One such piece, a work titled Baierbrunn, was executed in lead. This specific piece measures 17.5 cm x 27.8 cm, showing a focus on scale that allowed for intimate, detailed compositions.

• Baierbrunn (lead)
• Girl in the Entrance Hall

Where to See the Works Today

Tracing the physical remains of Faustner's output requires a visit to Munich. Much of his legacy is held within the Bavarian State Painting Collections. One can find his handiwork preserved in the Städtische Galerie im Lenbachhaus und Kunstbau München. This institution holds a piece titled Baierbrunn, which was brought into the museum's collection in 1940.

This specific work, Baierbrunn, is cataloged under the inventory number G 6530. It is a piece made of lead, measuring 17.5 cm by 27.8 cm. Seeing it allows for a close look at the technical precision required for his glass and architectural designs. The museum's archives keep these records of his contributions to the Munich glass painting tradition.

Later Years and Death

Leonhard Faustner spent his final years in Munich, the city of his birth. He remained part of the local artistic fabric until his death on 1 April 1884. He was 69 years old when he passed away in Munich, Germany.

His resting place is located at the Alter Südlicher Friedhof in Munich. The grave is situated in Gräberfeld 5, Reihe 2, Platz 23. The tombstone itself carries a piece of his own craft; it features a glass mosaic depicting a Christ face with a halo set against a blue background. This detail reflects his long association with the art of glass painting.