During the years of the Nazi dictatorship, which also strongly restricted artistic freedom, Hofer, just like many his fellow painters, turned to the depiction of harmless themes, predominantly landscapes and still lifes. Despite the ominous emptiness, this village landscape seems to be a pure idyl. There is no eveidence pointing to the repression prevailing in those days, as Hofer made strong efforts not to visualize any of that. The clear forms call reminiscence of New Objectivitym, a movement that was of strong influence in the 1920s, also as an answer to Expressionism, whic, in the years after WW I, would not live up to its former glory. The calm tranquility of the village idyl came into existence during Hofer's stay with the apothecarian Dr. Brunno Leiner in Konstanz in 1940/41. [KD/ SM]