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How did post-World War II German artists renew stained-glass art?

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The north rose window at Chartres Cathedral in France, featuring intricate stained glass with vibrant geometric and biblical designs in a large circular and five tall vertical panels. — stained glass The stained-glass rose window in the north transept of Chartres Cathedral, France.

Following World War II, Germany established the first authentic school of stained glass since the Middle Ages, primarily centered in the Rhineland. This renewal was driven by prewar architects and artists, such as Dominikus Böhm, Rudolf Schwarz, and Anton Wendling, who resumed their careers after the Nazi era and mentored a new generation of creators.1

These artists revitalized the medium by focusing on its intrinsic technical and expressive potential rather than merely using it for local ornamentation. Their approach included:1

Material Exploration: They exploited the unique refractory properties of opal-flashed antique glass and the graphic potential of lead lines.1
Technical Innovation: Artists utilized the bold textures and relief effects made possible by slab glass and concrete.1
Collaborative Design: By working closely with leading architects, they integrated stained glass as a major, atmosphere-creating element in modern structures, producing a significant body of work characterized by complex, brooding colour harmonies.1

Key figures of this Rhenish school, such as Georg Meistermann, Ludwig Schaffrath, and Johannes Schreiter, successfully elevated the medium to a monumental scale, creating works that remain among the most impressive in modern history.1