In the painting "Cow with Calf" from 1917, the deprivations caused by the First World War and the artist's negative attitude towards it are not recognizable. As is often the case, animals are the focus here too. The mother cow and calf are connected to each other like a bracket by the red and white paint and the black line and are clearly identifiable. As are the blue, jagged mountains and the spherical green bushes below, which are emphasized by the bright yellow flower. Towards the edges of the painting, the shapes become less clear. Individual, interlocking areas of color, sometimes angular, sometimes round, snail-shaped or even decoratively ornate, give the imagination free rein. In its luminosity, the painting is reminiscent of Campendonk's many reverse glass paintings and of his later work. In the early 1920s he left Bavaria and eventually moved to the Rhineland. From 1926 to 1933 he took over the professorship for glass and wall painting at the Düsseldorf Art Academy, succeeding his famous former teacher, Jan Thorn-Prikker, who had played a decisive role in the development of stained glass in Germany at the beginning of the 20th century. For Heinrich Campendonk, things now came full circle as he devoted himself more to the production of stained glass windows, such as those seen in the Passion window in the Christ the King Church in nearby Penzberg or in Bonn, Essen, Hamburg and other cities.