(b Strasbourg, 2 Oct 1741; d Munich, 3 Jan 1822). German painter, lithographer and administrator. He received his first training from his father, Konrad Mannlich (1701-58), court painter to Christian IV, Duke of Zweibr?cken. In 1758 he was sent to the drawing academy at Mannheim by Christian IV, and in 1762-3 accompanied him to Paris, where he met Fran?ois Boucher, Carle Vanloo and also Christoph Gluck and Diderot. His work from this period reveals the influence of French Rococo, for example in The Surprise (a scene from 'Blaise the Shoemaker', an opera by F.-A. Danican Philidor; Regensburg, Staatsgal.). He studied in Paris under Boucher in 1765-6, at the Acad?mie de France in Rome under Charles-Joseph Natoire in 1767-70 and also visited Naples; on his return journey to Germany he met Anton Raphael Mengs in Florence. During 1770-71 he made a great many copies of paintings, including one after Raphael's Madonna della sedia and another after Correggio's Madonna of St Jerome (both Munich, Bayer. Staatsgem?ldesammlungen, depot). His portrait of Duke Christian IV (Munich, Bayer. Staatsgem?ldesammlungen, depot) dates from the same period, during which Mannlich's painting moved towards Neo-classicism and to some extent towards 17th-century Dutch painting. He undertook many commissions for hunting paintings after the tradition of Daniel Hien (1725-73), such as Two Canadian Foxes (1781; Speyer, Hist. Mus. Pfalz). In 1772 he was appointed court painter to the dukes of Zweibr?cken, and inspector of the ducal picture collections in 1773; during the same period he returned to Paris with Christian IV where he met Greuze, Jean-Honor? Fragonard and Joseph Vernet.

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