Florian Lechner (artist) - Florian Lechner (Künstler)

Florian Lechner working on a stele made of fused glass with a hammer and chisel

Florian Lechner (born June 8, 1938 in Munich ) is a German artist and designer. Lechner has been working with glass and experimentally with the media of light - sound - movement since the 1960s. The artist's works can be found in architecture (Ettal, Frankfurt, London, Munich, Rouen, Rosenheim). Exhibitions and awards (Deutsche Studienstiftung, Exemplapreis Munich, Prix de Creation Chartres, Fragile Art Prize Woodinville / Seattle, Kulturpreis Rosenheim, A 'Design Award Como / Italy) mark his artistic career. Florian Lechner lives and works in Nussdorf am Inn in Upper Bavaria . [1]

"Glass color game": Glass, kinetic tower sculpture by Florian Lechner on the roof of the Wunsiedel paint factory
Atelier Florian Lechner, disc "Chartres"
Light glass sculpture COSMOS by Florian Lechner, awarded the A`Design Award 2019


Lechner was born as the son of the composer Konrad Lechner (initially head of the Munich Bach Society and 1st conductor of the Bamberg Symphony Orchestra ) and the harpsichordist Irmgard Lechner (musician and professor at the Detmold Music Academy ). Due to the professional demands of his parents, he grew up in different places in Bavaria and Austria until he found a home in 1950 as a student at the Schloss Neubeuert school . [2]

After graduating from school, Lechner, who was equally interested in music, art and architecture, began studying art education at the Kassel Werkakademie (later: Kassel Art College) with Fritz Winter, which was then a multi-faceted study . In this context he traveled to France in 1958 to study painting with Joseph Lacasse in Paris. Lacasse, who became both a teacher and a fatherly friend for Lechner, opened up a new world for him there and confronted him with the subject of “light”. [3]

On the advice of Lacasse, Lechner undertook a student pilgrimage to Chartres , where a key experience happened to him in Chartres Cathedral , which from then on shaped his way and his work: through the cathedral's artfully designed windows, the sunlight conjured you up brightly colored light carpet in the room and on the people. The glass skin of the windows seems to become a source of light itself. It materializes light - which sums up the essence of Lechner's light research: "materialized light". [4]

In 1961 he graduated from the Werkakademie in Kassel with distinction.

Following his vision of materialized light, he and Floris van Tetterode developed the so-called “fused glass” in Holland, with which it was possible for the first time to build diaphanous walls without concrete or lead rods. [5] Based on this technology, a large number of works emerged in the following years, many of them as part of projects across Europe. At the end of the 1960s, Lechner relocated its spatial focus back to Neubeuert. In addition to his work as a freelance artist, on the initiative of the school director he took up the work of an extracurricular "art mediator" in Neubeu Castle, where in 1967 he set up the world's first "glass studio for schoolchildren".

In 1980, Lechner moved to Urstall near Nussdorf am Inn in response to the growing need for space for factories and orders . There he set up a studio on the site of a former factory according to his requirements. The central element of the studio are its self-constructed ovens, in which he can also use the large-format glasses for projects such as B. the fountain in the courtyard of the Bayerische Landesbank Munich [6] .

Lechner uses the spaciousness of the studio and works out his personal dimensions of glass in Urstall: LIGHT - SPACE - SOUND. He makes this tangible by using his studio not only as a workshop and exhibition space, [7] but also as a concert stage for his own performances and those of artist friends. [8th]

In the summer of 2019, Florian Lechner's sculpture COSMOS in Como / Italy was awarded the renowned "A Design Award" [9] . In November 2019, Lechner opened his gallery shop in Nussdorf am Inn, [10] which is not only an expanded showcase for his studio, but also a space for encounters and activities. [11]


The glass artist Florian Lechner revealed that thermoformed industrial glass can provide poetic support for the production of glass paintings, sculptures and monumental works such as glass fountains and columns. "Center International du Vitrail, Chartres [12]

" Soon after his arrival in Neubeuert, Lechner was one of the best-known and most sought-after glass artists in Europe ", " Lechner is one of the most comprehensive and versatile talents in our region par excellence ". Klaus J. Schönmetzler , writer and cultural worker, in his laudation on the occasion of the award of the 2008 Culture Prize of the District of Rosenheim to Florian Lechner. [13]

" Florian Lechner is basically a cross-border commuter. This is clearly shown in a biography that is characterized by the protagonist's move from Germany to France and a career that took him from painting to sculpture and architecture, from surface to volume and Space and ultimately to glass, a material that is just as sustainably new as it is old. The fact that Lechner's intellectual independence goes in many directions is also evident in his interest in the interaction between fine art and music - also in relation to the passage of time and the power of the written or spoken word. "Dr. Helmut Ricke, art historian and author [5]

Florian Lechner was one of my masters, thanks to his works I dared to go in this direction. "Udo Zembok, glass artist [12]

Lechner's sculpture communicates an idea of ​​the beautiful which - although abstract mimesis of nature - has its human truth in the social sense of use. And in that it is progressive - and good. " Klaus Mollenhauer , educator and reviewer in the German Education Council [14]

" With his Munich" Raum der Stille ", Florian Lechner has succeeded in creating a work that can be regarded as exemplary for this type of room, which is so important today. “Dr. Holger Brülls, author and art historian [15]

" Thanks go to our artists. He goes to Mr. Lechner, through whose wonderful glass work the light really comes into its own. For me, dear Mr. Lechner, your art remains unmatched - and this chapel lives off of it The airport is defined like no other, in a special, haunting way. " Hans-Busso von Busse , architect of Munich Airport , in his commemorative publication" Imago Mundi "on the occasion of the inauguration of the airport chapel on May 21, 1992.


Lechner sees the legacy of the stained glass windows of Chartres Cathedral in acute danger. [16]

This spread of light was and is an essential expression not only of medieval spirituality. All of that should no longer exist in Chartres. It is only gradually that we begin to understand the full extent of these protective measures. Windows that can no longer spread their charisma and image in the room, expand them, make them comprehensible and tangible, become mindless, one could say castrated, robbed of their essential properties. This is what is happening right now in Chartres Cathedral, "he said at the autumn meeting of Being able to make them understandable and tangible become mindless, one could say castrated, robbed of their essential quality. This is what is happening right now in Chartres Cathedral, "he said at the autumn meeting of Being able to make them understandable and tangible become mindless, one could say castrated, robbed of their essential quality. This is what is happening right now in Chartres Cathedral, "he said at the autumn meeting ofGerman Glass Technology Society 2014. [17]

Together with the glass artist Udo Zembok, Lechner also turned his criticism to the specialist committees of UNESCO in Paris in order to obtain investigations into this and to protect other sacred buildings from appropriate interference in the future. [17]

Awards (selection)

Projects (selection)


  • "Florian Lechner and Glass - Florian Lechner and Glass", Peter Schmitt (Ed.), Arnoldsche Art Publishers Stuttgart 2013, hardback; enclosed DVD "Florian Lechner Sequenzen 1987–2012"; ISBN 978-3-89790-371-5 .


Commons : Florian Lechner - Collection of images, videos and audio files

Individual evidence

  1. Julia Lorenzer and Fabian Marcher: 111 places in Rosenheim and in the Inn Valley that you have to see . Emons Verlag GmbH, ISBN 978-3-86358-929-5 .
  2. Summer Festival 2017. Accessed December 29, 2019 . on schloss-neubeuer.de
  3. ^ "The cross-border commuter's happiness with glass". In: Oberbayerisches Volksblatt. June 8, 2013, accessed January 1, 2020 .
  4. Film: Apparently Glass. Accessed December 30, 2019 .
  5. a b Peter Schmitt et al. (Ed.): Florian Lechner and Glas . Arnoldsche, ISBN 978-3-89790-371-5 .
  6. a b Des Grenzgänger Glück mit Glas , on ovb-online.de, accessed on January 3, 2019.
  7. Glass is more, event notice "Glas + Form". Accessed December 1, 2019 .
  8. workshop concert Urstall June 2006. Accessed on 29 December 2019 .
  9. a b A 'Design Award 2019 Winners. Retrieved December 28, 2019 .
  10. "The heat of the oven combines with glass". In: Oberbayerische Volkszeitung. December 3, 2019, accessed December 4, 2019 .
  11. Nussdorfer Gemeindeanzeiger . No. 4 / 2019, S. 44 f.
  12. a b Portrait of Udo Zembok. Retrieved December 29, 2019 .
  13. a b Report on the Rosenheim Culture Prize 2008 in the OVB. (PDF) In: Rosenheim City Archives. Retrieved December 29, 2019 .
  14. Florian Lechner u. a.: Glas + Form. Neubeuern 1982.
  15. ^ Holger Brülls: Contemporary glass painting in Germany . Center International du Vitrail, Chartres / France 2012, ISBN 978-2-908077-06-3 .
  16. David A. Scott: Art: Authenticity, Restoration, Forgery. The Cotsen Institute of Archaeology Press, Los Angeles, ISBN 978-1-938770-08-1, S. 110 f.
  17. a b Minutes of the autumn meeting Dt. Glastechnische Gesellschaft 2014. (PDF) Retrieved on December 29, 2019 .
  18. a b About St. Petrus Canisus. Retrieved December 27, 2019 .
  19. New Glass Review 2. (PDF) Retrieved December 1, 2019 .
  20. Glass fountain. Retrieved December 29, 2019 .
  21. ^ History of the Ignaz-Günther-Gymnasium. Retrieved December 29, 2019 .
  22. New Glass Review 4. (PDF) Retrieved December 29, 2019 .
  23. ^ Exhibition catalog for the 2nd Coburg Glass Prize . S. 10 f.
  24. ^ Art on the building Rosengarten Coburg. (PDF) Retrieved December 29, 2019 .
  25. ^ New Glass Review 11. (PDF) Retrieved December 29, 2019 .
  26. ^ Spiritual aspects in the matter of glass. (PDF) In: Rosenheim City Archives. Retrieved December 29, 2019 .
  27. ^ Art on campus: the sun disk. Retrieved December 29, 2019 .
  28. ^ Building history of the Maximilianeum. Retrieved December 29, 2019 .
  29. Culture Prize 2009. In: Stadtarchiv Rosenheim. Retrieved December 29, 2019 .
  30. Michael Kubitza: Dead in Munich . Pustet, ISBN 978-3-7917-6019-3 .
  31. ^ Christoph Wagner (ed.): Art on campus . ISBN 978-3-86845-030-9 .
  32. ^ Metro of Rouen. Retrieved December 17, 2019 .
  33. ^ Homepage of the Bay. Landtag. Retrieved December 27, 2019 .
  34. "Airport chapel in new splendor". In: Münchner Merkur. Retrieved December 17, 2019 .
  35. ^ "25 years of Christophoruskapelle". In: MK-Online. Retrieved December 16, 2019 .
  36. ^ "Salvation given to the house" in Oberbayerisches Volksblatt from December 15, 2011. December 15, 2011, accessed December 4, 2019 .
  37. "Holy Cross Church in Bonn-Limperich". In: Kultur.Landschaft.Digital. Retrieved December 13, 2019 .
  38. Generalanzeiger Bonn: Monuments in Beuel: A castle served as a model
  39. ^ Architects Claus and Forster project report, Ettal Abbey. Retrieved December 29, 2019 .
  40. Project images Ettal Abbey
  41. Rudolf Steger: Draft Atlas Sacral Building . Birkhäuser, ISBN 978-3-7643-6683-4 , p. 130 f.
  42. Peter Schmitt et al. (Ed.): Florian Lechner and Glas . Arnoldsche, ISBN 978-3-89790-371-5 .
  43. Tangible light , Süddeutsche from 9./10. April 2020, accessed April 20, 2020.