He studied painting at the Academy of arts in Dusseldorf, the older brother of Andreas Achenbach. In 1845 he moved to Bavaria and then to Italy. In Italy Achenbach wrote his best works are landscapes of southern Italy, parades, celebratory processions, scenes of popular life. In landscapes devoted special attention to lighting contrasts. In 1863-1872 years has held the position of Professor of landscape painting at the düsseldorf Academy of arts. Died of inflammation of the lungs. Achenbach paintings are represented in many art galleries in Germany.
German painter. Younger brother A. Achenbach. Under his influence, began to get involved in landscape painting. In 1838-1841 studied at the düsseldorf Academy of arts from Schirmer. Crucial in the formation of the brushwork of the artist played a trip to Italy in the 1850s. In 1845 visited Switzerland. In 1859 was in Paris and in Normandy. In 1864 and 1868 he again visited Switzerland. From 1863 to 1872 he taught at the düsseldorf Academy of arts. In 1873, went to Holland and Belgium. In 1894 and 1897 he made a last trip to Switzerland. From 1863 a Professor of the düsseldorf Academy. From 1861 — honorary free member of the St. Petersburg Academy of arts. Like his brother A. Achenbach, was one of the greatest masters of the düsseldorf school.
Already performed in Italy in the 1850s the works — Saby mountains in Tivoli (CA. 1850), Cypress (1850, both the Dusseldorf Museum of Art), Night in the vicinity of Rome (1850s, Saint-Petersburg, GOS. The Hermitage), the landscape in the Campagna (1855, düsseldorf, Kunstmuseum) — apparent waste of the Achenbach Foundation from the academic landscape of the düsseldorf school. They performed a free, open-brushstroke vividly and directly fixing the dynamics of the distribution of light and shadow in space. This new style of painting color spot testified to the close searches Achenbach masters of the European landscape 1850-1860. the Artist sought to convey a variety of lighting points South, depicting the types of Campania in anticipation of a thunderstorm, in even Sunny daylight, in a more dramatic sunset light that increases the expressiveness of light and shadow. Unlike working with him at the same time in Italy Bocklin Achenbach not romanticised landscape motifs, and wrote them based on direct observation of nature. In later years, the artist has continued to excite the Italian experience. However, created on executed earlier sketches paintings Constantino (1882) and Villa Borghese (1886, both from the Dusseldorf Museum of Art) look more picturesque. Achenbach returns them to the style of tonal painting, building landscape views on subtle gradations of light and shade, giving steffany figures, plants and architectural structures detailed vypisnoy. In the big panoramic kinds of 1880-1890-ies the artist often uses a romantic technique "dalev" view of the nature, placing in the foreground the figures of people or opening the space from the fixed first plan. In the canvas View of Bonn (1888, Dusseldorf Museum of Art) view of the Rhine valley and the city opens to view from standing on the picnic in the vicinity of the Venusberg of the company, and the endless chain of the Alps massif in the landscape of Wengen (1897, Dusseldorf Museum of Art) seen from the one shown in the foreground of a mountain ledge. This technique allows to convey the depth of the landscape, melting into the haze of the air easily, barely scheduled amounts of buildings, mountains and plants. Painting A. Achenbach, and especially the early manner of the artist had a significant influence on German artists pleneristov Dusseldorf (l. Munt, G. Eder, E. de Paardt, etc.).