Storkensauen (storkensohn) / Occupied Alsace / Dated October 1918 / Watercolor / Claude Mirbel

Mountain landscape in occupied Alsace – Storkensauen, October 1918
Watercolor signed and dated lower right “Cl. Mirbel 1918”
Inscribed on the back: “Storkensauen, October 18”
Dimensions: 27.5 x 37.5 cm (image) – 43 x 53 cm (with frame)

This charming watercolor by Claude Mirbel, created in October 1918, captivates with the freshness of its palette and the quality of its observation of the landscape. Here, the artist depicts a mountain slope brought to life by the flamboyant colors of autumn, where the reds, oranges, and yellows of the deciduous trees contrast with the deep tones of the coniferous forests. The diagonally constructed composition naturally draws the eye from the foreground toward the valleys and misty peaks in the background, creating a remarkable sense of space and depth.

The execution demonstrates a perfect mastery of watercolor. The subtle washes of the sky and distant landscapes contrast with a more energetic and colorful touch in the rendering of the vegetation. The diffused light, typical of the mid-mountain landscapes of the Vosges, envelops the entire scene in an atmosphere that is both poetic and melancholic, particularly evocative of late autumn.

But beyond its aesthetic qualities, this work possesses a historical significance.
The handwritten note on the back: “Storkensauen, October 18”, constitutes a valuable testimony to the geopolitical situation in Alsace at the very end of World War I. In October 1918, Alsace was still officially part of the German Empire, following its annexation after the 1870 war. The localities were then known by their Germanized names, before returning to France a few weeks later, following the Armistice of November 11, 1918.

The location indicated, Storkensauen, corresponds to the current French commune of Storkensohn, in the Thur Valley, in the heart of the Vosges Mountains. This region, close to the Vosges front during the Great War, was marked by a constant military presence and by the upheavals associated with the conflict. Thus, this watercolor does not merely depict a landscape; it also serves as a visual record created during a pivotal period in Alsatian history, just weeks before the region’s definitive return to France.

This dual artistic and historical dimension gives the work a special significance.