1868-1915,Swiss painter. While still at school he was given drawing lessons by Paul Volmar (1832-1906) in Berne. From 1883 he was a pupil of Fritz Schider (1846-1907) in Basle, where he became acquainted with the works of Hans Holbein the younger and Arnold B?cklin. In 1886 he went to the Akademie der Bildenden K?nste in Munich, transferring in 1887 to Simon Holl?sy painting school. After seeing the works of the French Impressionists exhibited in Munich, he moved to the Acad?mie Julian in Paris in 1889. He made several journeys to Algeria, Holland, Belgium and England, and in 1893 he returned to Munich to study under Albert von Keller. In 1898 he settled in Switzerland, living first at Lucerne, then from 1903 in Brienz, near Interlaken. About 1900, influenced by the paintings of Ferdinand Hodler, Buri moved on from his early genre pictures, which were in mawkish shades of pink in the style of Keller and H?llosy, to achieve an individual style that brought him great popularity. He established his reputation with Village Politicians (1904; Basle, Kstmus.). He painted mainly the landscape and people of the Bernese Oberland, often depicting single figures and groups in front of bare indoor walls in realistic everyday scenes. The expressiveness of the compositions is achieved by clear contours and powerful clearly differentiated surfaces in local colours. Buri works are essentially populist rather than intellectual and avoid Hodler strict parallelism and Symbolist content.   Related Paintings of Max Buri :. | Bauerin im Sonntagsstaat | Apfel | Bildnis Einer Brienzer Brienzer Bauerin | Ferdinand Hodler | Brienzersee-Landschaft |
Related Artists:
Orazio Borgianni
Italian Baroque Era Painter, 1578-1616
Gabriel Lory Pere
Bern 1763-1840 Bern
SPADA, Lionello
Italian Baroque Era Painter, 1576-1622 Italian painter, active mainly in Emilia. His signature was an L placed across a sword [Ital. spada=sword]. His work shows influence of the grand manner of the Carracci, as in The Burning of Heretical Books (San Domenico, Bologna), and of Caravaggio's naturalism, seen in dramatic religious and genre scenes such as The Way to Calvary (Parma). In his late works his manner became softer and warmer under Correggio's influence. An example is The Marriage of St. Catherine (Parma).