Admiring Art in Oberschleissheim
There are few palaces in Europe that can be said to be both architecturally overwhelming and yet totally devoid of visitors. Sites that are of touristic interest automatically attract crowds, while peace and quiet may at best be found in the ordinary and mundane. The Palace of Oberschleissheim just North of Munich is an exception, however. It is one of the finest examples of a Treasure off the Beaten Track destination in Europe, boasting both a splendid exterior and interior, as well as magnificent paintings from the Bavarian State Gallery. Yet there are no crowds in Oberschleissheim and for years I have been wondering why. Many visitors to Munich prefer to focus on cliché activities in the Bavarian capital, such as attending the Oktoberfest or visiting the Hofbräuhaus brewery. If tourists leave downtown Munich, it is usually for a thought-provoking educational visit to the Dachau memorial site nearby. Yet few visitors know that a mere 4-5 miles further East, one of the most magnificent palace complexes in Bavaria can be found, untouched by tourist crowds and a well-kept secret to discover and fall in love with.
Oberschleissheim Palace was a testament to a great ambition, when construction started in 1700/01 on the orders of Prince Elector Max Emanuel. He had high hopes of becoming Emperor of the Holy Roman Empire and had Oberschleissheim built to show the world that he was up to the challenge both in terms of political and economic power. After all, just before construction started, Max Emanuel successfully pushed the Ottoman Turks back to the Balkans as a great ally of Prince Eugene of Savoy in the War against the Turks that ended in 1699. So the original plan was a highly ambitious Bavarian version of Versailles comprising 4 wings, of which only the main wing was ultimately completed. On the premises of Schleissheim, there already existed the "Old Palace" from the 17th century and the pleasure palace of Lustheim in the gardens, also completed by Max Emanuel for his wedding in 1688. Yet the Prince Elector's high hopes were dashed when he lost the War of Spanish Succession and spent a total of 11 years (1704-1715) in exile in Flanders and Paris. He returned a more humble and broken man, and the rest of what can be seen today was completed by his court architect Joseph Effner by 1719. For that reason, Oberschleissheim is a highly intriguing architectural testimony to Max Emanuel's political ambitions and tragic trajectory.
The exterior of the New Palace Oberschleissheim clearly reflects the 15 year delay in construction, with the center part of the main wing designed originally by Henrico Zuccalli in Italian Villa Style 1701-1704 and the remaining parts of the main wing completed under Joseph Effner after 1719, who himself was inspired by the French court following Max Emanuel's long stay in exile there. The true surprise to visitors, however, may be seen in the interior of the Palace - as some of the Baroque era's leading Bavarian architects, including Johann Baptist Zimmermann and Cosmas Damian Asam contributed to the splendid ceilings and lavish ornate decoration inside.
To the trained eye, much evidence to the victory over the Turks may be found as well, including references to turbans, half moons and other Turkish-themed designs.
Paintings equally abound in the interior with particular splendor to be found on the upper floor of the main wing, where a collection of the Bavarian State Gallery may be admired in the palace rooms, including rare examples of Dutch Masters paintings, such as Anthony van Dyck and Peter Paul Rubens. No other place in Europe offers such peaceful conditions to admire art directly on a personal 1-to-1 level. True bonding with the artwork is thus still possible, making a visit here a truly enriching, delightful artistic experience.
In the center of the main wing upstairs, we find the "Large Gallery", vastly reminiscent of the Hall of Mirrors in Versailles, may be slightly more playful thanks to the unique Grotesque ceiling paintings of Nikolaus Stuber. The five original chandeliers of Bohemian crystal, however, add stately splendor to the hall, which offers great views towards the gardens and the pleasure palace of Lustheim, as well as access to the state apartments of Prince Elector Max Emanuel, including his reception room, private audience room and private bedroom, all decorated with rich tapestries and paintings. The far right side of the main wing upstairs also offers some surprises with the small highly ornate hunting room and a balcony offering views over the splendid Maximilian Chapel.
Returning downstairs we find numerous paintings by Munich court painter Joseph Vivien, pioneer of pastel paintings, depicting Prince Elector Max Emanuel upon his return from exile in 1715. Particularly Vivien's portrait paintings are highly fascinating and unique, as pastel appears much more matte and thus similar to photography compared to the standard oil paintings of the 18th century. In addition, Vivien's pastel paintings are protected by highly costly glass covers and picture frames. As we make our way towards the Palace exit, our eyes once again meet the huge cupula above the main staircase, both unique and unprecedented in palaces of 18th century Europe, and we begin to understand the site's unique place in history, bask in its splendor and baroque beauty, and feel profoundly touched as human beings by the opportunity to experience, process and digest such enormous beauty without the distractions of tourist crowds or other signs of modern civilization.
Oberschleissheim Palace was a testament to a great ambition, when construction started in 1700/01 on the orders of Prince Elector Max Emanuel. He had high hopes of becoming Emperor of the Holy Roman Empire and had Oberschleissheim built to show the world that he was up to the challenge both in terms of political and economic power. After all, just before construction started, Max Emanuel successfully pushed the Ottoman Turks back to the Balkans as a great ally of Prince Eugene of Savoy in the War against the Turks that ended in 1699. So the original plan was a highly ambitious Bavarian version of Versailles comprising 4 wings, of which only the main wing was ultimately completed. On the premises of Schleissheim, there already existed the "Old Palace" from the 17th century and the pleasure palace of Lustheim in the gardens, also completed by Max Emanuel for his wedding in 1688. Yet the Prince Elector's high hopes were dashed when he lost the War of Spanish Succession and spent a total of 11 years (1704-1715) in exile in Flanders and Paris. He returned a more humble and broken man, and the rest of what can be seen today was completed by his court architect Joseph Effner by 1719. For that reason, Oberschleissheim is a highly intriguing architectural testimony to Max Emanuel's political ambitions and tragic trajectory.
The exterior of the New Palace Oberschleissheim clearly reflects the 15 year delay in construction, with the center part of the main wing designed originally by Henrico Zuccalli in Italian Villa Style 1701-1704 and the remaining parts of the main wing completed under Joseph Effner after 1719, who himself was inspired by the French court following Max Emanuel's long stay in exile there. The true surprise to visitors, however, may be seen in the interior of the Palace - as some of the Baroque era's leading Bavarian architects, including Johann Baptist Zimmermann and Cosmas Damian Asam contributed to the splendid ceilings and lavish ornate decoration inside.
To the trained eye, much evidence to the victory over the Turks may be found as well, including references to turbans, half moons and other Turkish-themed designs.
Paintings equally abound in the interior with particular splendor to be found on the upper floor of the main wing, where a collection of the Bavarian State Gallery may be admired in the palace rooms, including rare examples of Dutch Masters paintings, such as Anthony van Dyck and Peter Paul Rubens. No other place in Europe offers such peaceful conditions to admire art directly on a personal 1-to-1 level. True bonding with the artwork is thus still possible, making a visit here a truly enriching, delightful artistic experience.
In the center of the main wing upstairs, we find the "Large Gallery", vastly reminiscent of the Hall of Mirrors in Versailles, may be slightly more playful thanks to the unique Grotesque ceiling paintings of Nikolaus Stuber. The five original chandeliers of Bohemian crystal, however, add stately splendor to the hall, which offers great views towards the gardens and the pleasure palace of Lustheim, as well as access to the state apartments of Prince Elector Max Emanuel, including his reception room, private audience room and private bedroom, all decorated with rich tapestries and paintings. The far right side of the main wing upstairs also offers some surprises with the small highly ornate hunting room and a balcony offering views over the splendid Maximilian Chapel.
Returning downstairs we find numerous paintings by Munich court painter Joseph Vivien, pioneer of pastel paintings, depicting Prince Elector Max Emanuel upon his return from exile in 1715. Particularly Vivien's portrait paintings are highly fascinating and unique, as pastel appears much more matte and thus similar to photography compared to the standard oil paintings of the 18th century. In addition, Vivien's pastel paintings are protected by highly costly glass covers and picture frames. As we make our way towards the Palace exit, our eyes once again meet the huge cupula above the main staircase, both unique and unprecedented in palaces of 18th century Europe, and we begin to understand the site's unique place in history, bask in its splendor and baroque beauty, and feel profoundly touched as human beings by the opportunity to experience, process and digest such enormous beauty without the distractions of tourist crowds or other signs of modern civilization.
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