Vincent Weber was born in Monschau in 1902. He was discovered at the tender age of ten by Adolf Hölzel (1853‑1934), who promoted him and advised him to study at the Bauhaus in Weimar (1920‑1924); his teachers there were Johannes Itten, Paul Klee, Wassily Kandinsky, and Oskar Schlemmer. Weber subsequently studied for a year in Stuttgart, as a master’s student of Hölzel. He was a member of the November Group in Berlin (where he had a studio), and member of the Rhineland Secession movement in Düsseldorf, as well as of the Reichsverband bildender Künstler (National Association of Fine Artists). Between 1926 and 1928, he worked in the fine arts, with studios in Berlin, Stuttgart, Paris, Düsseldorf and Antwerp. In 1929‑30, he was Hölzel’s assistant in Stuttgart, and worked on realizing the latter’s designs for windows in Stuttgart town hall.
From 1934 to 1941, Weber directed the faculty of painting and graphic arts at the Werkkunstschule für gestaltende Arbeit (School of Applied Arts for Creative Work) in what is now Szczecin (Poland), then Stettin, and in 1937 had the opportunity to exhibit his work in Germany. After the war, he started a new career, and worked as director of the Werkkunstschule (School for Applied Arts) in Wiesbaden from 1954 until 1965, after which he worked as a freelance artist in the same city.
On account of his education and the bond with his teacher Adolf Hölzel, Weber remained fond of glass-painting all his life. Practically no stained glass that might provide a direct stylistic comparandum for the panel of Susanna at her Bathsurvives from the early period of Weber’s creativity (until 1930), presumably as a result of wartime losses.
Michael Siebenbrodt, Vincent Weber: Zauberteppich, Weimar, 2002