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Max Buri
Bildnisstudie des Malers Franz Multerer
mk208
1891
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Max Buri
Franzosischer Soldat
mk208
1891
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Max Buri
Unterhaltung
mk208
1893
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Max Buri
Blumen
mk208
um, 1899
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Max Buri
Mutteridyll
mk208
um 1900/01
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Max Buri
Brienzersee mit lseltwald
mk208
um 1901
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Max Buri
Die Dorfpolitiker
mk208
1904
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Max Buri
Nach dem Begrabnis
mk208
1905
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Max Buri
Brienzer Bauer Beim Wein
mk208
1905
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Max Buri
Bauer nach dem Begrabnis
mk208
um1906
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Max Buri
Kopf eines jungen Madchens mit Hals-und Haarband
mk208
um 1906
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Max Buri
Oberhaslerin
mk208
um 1906
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Max Buri
Siesta
mk208
1907-1910
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Max Buri
Hedy Buri mit Puppe
mk208
1908
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Max Buri
Politiker
mk208
um 1908
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Max Buri
Brienzersee-Landschaft
mk208
um1907
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Max Buri
Brienzersee-Landschaft
mk208
um 1907
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Max Buri
Apfelstilleben
mk208
um 1909
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Max Buri
Stilleben mit Apfeln und Birne
mk208
um 1910
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Max Buri
Apfel
mk208
um 1911
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| Max Buri
|
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.
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