DOI Artikel:
Sauterel, Valérie: The functioning and development of Kirsch & Fleckner's workshop in Fribourg during the first half of the twentieth century
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.51154#0069
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14. Raymond Buchs, St. Joseph and the Christ, 1906, project for the
church of Vuisternens-devant-Romont. Photo: Vitrocentre Romont
stained-glass creations until his last windows, which date
from the middle of the century.21
In 1916, Kirsch & Fleckner attracted another young
artist from Fribourg, 25-year-old Henri Broillet. He was
a student in Munich and then at the School of Sacred Art
21 In particular, he created the very important stained-glass cycle of
the Church of Saint-Pierre in Fribourg with the workshop of Al-
fred Kirsch (son of Vinzenz) between 1941 and 1945; Ibidem.
15. Fortune Bovard, St. Joseph and the Christ, 1906, project with
modifications for the window of the church of Vuisternens-devant-
-Romont. Photo: Vitrocentre Romont
in Paris, where he worked under the direction of Mau-
rice Denis.22 The workshop asked him to create sketches
for all the windows of the Church of St. Pierre & Paul at
Villars-sur-Glane [Fig. 19] in Art Nouveau Style. We can
clearly see the influence of Mehoffer, mainly in the way
Broillet uses colors. He lays out the premises of what will
be his strength as a stained-glass window creator. He re-
veals a very clear composition combined with highly con-
trasting tones. In using a rich panel of vivid colors and
by playing with different shades, he obtains a great inten-
sity in his drawing. Six years later, Broillet realized four
stained-glass windows for the choir of a little church
in Saint-Aubin. Following the principles developed at
22 Service des Biens culturels, ‘Les artistes du Groupe de St-Luc’, in
Le Groupe de St-Luc, Fribourg, 1995, p. 52.
14. Raymond Buchs, St. Joseph and the Christ, 1906, project for the
church of Vuisternens-devant-Romont. Photo: Vitrocentre Romont
stained-glass creations until his last windows, which date
from the middle of the century.21
In 1916, Kirsch & Fleckner attracted another young
artist from Fribourg, 25-year-old Henri Broillet. He was
a student in Munich and then at the School of Sacred Art
21 In particular, he created the very important stained-glass cycle of
the Church of Saint-Pierre in Fribourg with the workshop of Al-
fred Kirsch (son of Vinzenz) between 1941 and 1945; Ibidem.
15. Fortune Bovard, St. Joseph and the Christ, 1906, project with
modifications for the window of the church of Vuisternens-devant-
-Romont. Photo: Vitrocentre Romont
in Paris, where he worked under the direction of Mau-
rice Denis.22 The workshop asked him to create sketches
for all the windows of the Church of St. Pierre & Paul at
Villars-sur-Glane [Fig. 19] in Art Nouveau Style. We can
clearly see the influence of Mehoffer, mainly in the way
Broillet uses colors. He lays out the premises of what will
be his strength as a stained-glass window creator. He re-
veals a very clear composition combined with highly con-
trasting tones. In using a rich panel of vivid colors and
by playing with different shades, he obtains a great inten-
sity in his drawing. Six years later, Broillet realized four
stained-glass windows for the choir of a little church
in Saint-Aubin. Following the principles developed at
22 Service des Biens culturels, ‘Les artistes du Groupe de St-Luc’, in
Le Groupe de St-Luc, Fribourg, 1995, p. 52.