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 :. | Brienzer Bauerin | Brienzer Bauerin mit Korb | Bildnis eines rothaarigen Madchens | Bildnis Einer Brienzer Brienzer Bauerin | Ferdinand lovelier |
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Nikolai Kasatkin
Russian.1859-1930
Ammi Phillips
(1788-1865), a self-taught New England portrait painter, is regarded as one of the most important folk artists of his era. Phillips was born in Colebrook, Connecticut, and began painting portraits as early as 1810. He worked as an itinerant painter in Connecticut, Massachusetts, and New York for five decades. In 1924, a group of portraits of women, shown leaning forward in three-quarter view and wearing dark dresses, were displayed in an antique show in Kent, Connecticut. The anonymous painter of these strongly colored works, which dated from the 1830s, became known as the "Kent Limner," after the locality where they had come to light. Stylistically distinct from those of the "Kent Limner," a second group of early-19th-century paintings emerged after 1940 in the area near the Connecticut?CNew York border. Attributed at the time to an unknown "Border Limner," these works, dating from the period 1812?C1818, were characterized by soft pastel hues, as seen in the portrait of Harriet Leavens, now in the Fogg Art Museum, Harvard University. It was not until 1968 that Ammi Phillips's identity as the painter of both groups of portraits was established. Additional works were identified, showing the artist's transition from the delicate coloration of the Border period to the bold and somber works that followed.
Nagy, Sandor
Hungarian, 1869-1950