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#0071
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19. Henri Broillet and Kirsch & Fleckner, St. Michael, 1916, Villars-
-sur-Gläne (Fribourg), church of St Peter and Paul. Photo: Vitro-
centre Romont
Villars-sur-Glane, he used here strong chiaroscuro which
reinforces the dramaturgy of the scene [Fig. 20].
CONCLUSION: THE EVOLUTION OF THE
WORKSHOP IN ITS WAY
OF COLLABORATING WITH ARTISTS
The examples of these four artists, collaborators with the
Kirsch & Fleckner workshop since its inception, clearly il-
lustrate the artistic vision of the founders. Modernity was
initiated by Mehoffer s first stained-glass windows in Fri-
bourg Cathedral. Buchs, despite being the most traditional
20. Henri Broillet, Crucifixion, 1922, project for the church of St Au-
bin, Saint-Aubin (Fribourg). Photo: Vitrocentre Romont, Y. Eigen-
mann
artist among the four, and representing the transition be-
tween the nineteenth century and the first decades of the
twentieth, frees himself from a monotone historicist style
and soon starts to show a productive imagination. From
the beginning, Bovard, Broillet and Castella choose the
way initiated by Mehoffer but with their own sensibility
and intentions.
The signature situation evolves too. The artists sig-
nature occurs only very rarely in Buchs’ and Bovard’s
stained-glass works. After 1915 it becomes normal for the
artists to sign their own work. Signatures can frequent-
ly be found on Castellas and Broillets stained-glass win-
dows. In our opinion, we can see here a change in the
19. Henri Broillet and Kirsch & Fleckner, St. Michael, 1916, Villars-
-sur-Gläne (Fribourg), church of St Peter and Paul. Photo: Vitro-
centre Romont
Villars-sur-Glane, he used here strong chiaroscuro which
reinforces the dramaturgy of the scene [Fig. 20].
CONCLUSION: THE EVOLUTION OF THE
WORKSHOP IN ITS WAY
OF COLLABORATING WITH ARTISTS
The examples of these four artists, collaborators with the
Kirsch & Fleckner workshop since its inception, clearly il-
lustrate the artistic vision of the founders. Modernity was
initiated by Mehoffer s first stained-glass windows in Fri-
bourg Cathedral. Buchs, despite being the most traditional
20. Henri Broillet, Crucifixion, 1922, project for the church of St Au-
bin, Saint-Aubin (Fribourg). Photo: Vitrocentre Romont, Y. Eigen-
mann
artist among the four, and representing the transition be-
tween the nineteenth century and the first decades of the
twentieth, frees himself from a monotone historicist style
and soon starts to show a productive imagination. From
the beginning, Bovard, Broillet and Castella choose the
way initiated by Mehoffer but with their own sensibility
and intentions.
The signature situation evolves too. The artists sig-
nature occurs only very rarely in Buchs’ and Bovard’s
stained-glass works. After 1915 it becomes normal for the
artists to sign their own work. Signatures can frequent-
ly be found on Castellas and Broillets stained-glass win-
dows. In our opinion, we can see here a change in the