From 1956 to 2000 around 35 church window projects were realized. The order situation for art in buildings was particularly favorable between 1955 and 1970, because churches that had been destroyed in the war still had to be renovated and many new building areas and satellite towns were built that required, among other things, a church center.

Without words and possibly unconsciously, the artist expresses a spiritual philosophy in his large church windows that does without a personalized deity and without dogmatic determinations. It corresponded more to an atheistic or pantheistic worldview and was far removed from Christian or even ecclesiastical dogmatics, as Helgard Rottloff, who accompanied the artist from 1958–1985 as a partner and gallery owner, confirms. For this reason, some orders for church windows went to Emil Wachter (1920–2012), who moved in the context of traditional church images with figurative biblical representations77 and was more in agreement with the clergy responsible than Lothar Quinte, who strictly rejected the representational design of church windows .