Florian Froehlich was, when starting out in art, strongly influenced[1] by the School of Paris, in particular by artists such as Maurice Estève, Charles Lapicque and Nicolas de Staël.

[8] In contrast to normal stained glass which is not lit, Froehlich is using in Saignelégier artificial light: indeed, three steles, called the Golgotha group, are strongly backlit.

[11][12] Occasionally, Froehlich creates in relation to world events, such as for the Jura leg of the Tour de France 2012: he showed an art installation exhibited to thousands of spectators over a 24-hour period on July 8, 2012.

At his occasion a book with his same title has been published by Editions Le Renard par la Queue,[17] Lausanne, directed by the author Ferenc Rákóczy in a contemporary design by Chloé Donzé and contributions by the journalist José Ribeaud.

From 2015 on, Froehlich has gradually begun to change his focus from crowds to the human being in all their various individualities, with the Renaissance as his gateway to the subject, having concentrated mainly on sketching over a period of two years.

One of the focuses of Froehlich's work is the Biblical character, Haman, taking as his base a small sketch by Bartolomeo Passarotti whose subject was used in the painting of the ceiling of the Sistine Chapel by Michelangelo.

Two concerts will take place in tandem with the exhibition, featuring among others the works of the Romantic composer, Friedrich Théodor Froehlich (1803–1836), friend of Franz Schubert and an ancestor of the artist.

[24] Like the Saignelégier steles, he carried out this work in close collaboration with the Béguin stained glass workshop in St Croix and the locksmiths J.Pierre and Marianne Scheuner.

A metallic spiral in ultramarine blue springs from the pink marble of Portugal, twists in space, tenderly embraces a face made of colored glass slab and then gets lost further, in infinity.