Fiebig was a great traveler, passionate about urban landscape and nature, where he drew his inspiration, until a series of family dramas forced him to settle in Alsace (East of France).

She secretly married him in 1906, supported him financially and encouraged him to continue his studies at the Imperial Academy of Arts of St Petersburg to improve his artistic skills.

LikeAlbert Marquet, his contemporary, Fiebig drew from the same sources of inspiration: Paris and the banks of the river Seine, then Italy.

The parallel between the two men is quite striking; moreover, they are both great travelers sharing many subjects of common inspiration, quiet personalities and a desire to stay aside from mundanities.

In 1911–1912, Fiebig brightened his palette under the sun of southern Europe by traveling on foot from Lugano (Switzerland) to Naples (South of Italy).

[8] In 1912, the Bernheim-Jeune art gallery staged Fiebig’s first solo exhibition and encouraged him, but with a mild warning: "You are ten years ahead of your time."

The magazine's honor committee was very visible and included a number of prestigious artists such as D'Annunzio, Degas, Dierx, D'Indy, Huysmans, Geffroy, Monet, and Rodin.

He did not feel safe in Paris and decided to leave the French capital city and take refuge in the Landes (South West of France near the Atlantic coast).

The young artist regularly exhibits his paintings at the "Salon d'Automne" and at the "Indépendants" in Paris, then in Barcelona, London and New York.

Fiebieg was haunted by the genetic disease that undermined his son's health; the Fiebig family left Paris and settled in Ladevèze and Lescar (near the Pyrénées, in France), after doctors recommended an extended stay in the mountain fresh air for the young boy.

Two years later, the family returned to Paris, and the painter found his inspiration on the banks of the river Seine and in the streets of the city.

He painted Paris precisely, in often vibrant and delicate tones, the Luxembourg garden, the zinc roofs, the piles of sand that line the river Seine for the barges, and many other subjects that make him a Parisian painter.

After brief journeys in the south-west, he finally settled in 1929, in Alsace in the small city of Sélestat with his wife Elisabet,[15] his daughter Raya and his son Eric.

On 8 December 1934, the newspaper of Sélestat published a long article on the ghost of the Tännchel in which Fiebig was presented as a "very bearded and very hairy" person who had a rat as his sole companion.

In 1942 his wife Elisabet died and in 1943 his daughter Raya, born of a Jewish mother, was deported to the Gaggenau internment camp by the Nazis who occupied Alsace.

Debora Logak,[24] the mother of his children, living in Montrouge near Paris, was arrested in July 1942 in the sinister French police raid of the Vélodrome d'Hiver.

He was almost forced to display his work during the military occupation of France by Germany in exchange for vague promises of a pension that would never materialise.

His relatives reported that he had been buried in the Protestant cemetery, but the town of Sélestat, whose street is named after him, has no record of his grave in its registers.

Fiebig’s works were stored in boxes and almost forgotten in an attic until resurfacing again thanks to the persistence of his daughter Raya, who made his art better known beginning in 1975.

But, if he helped to make the work of Fiebig better known, Logel apparently "drained" the bank accounts of Raya, the artist's daughter.

Profoundly European by his personal history, Fiebig evolved between Post-Impressionism and Expressionism and he leaves an extensive body of work dominated by a transfigured vision of urban landscape and nature, in the context of a life broken by the two world wars.