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Max Buri Die beiden Freundinnen mk208
1911
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Max Buri Blick vom Gurten Bei Bern mk208
um1908
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Max Buri Das Lauterbrunnental mit Jungfrau mk208
um 1906
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Max Buri Selbstbildnis mk208
1912
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Max Buri Bildnis eines rothaarigen Madchens mk208
1911
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Max Buri Bauerin im Sonntagsstaat mk208
um 1911
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Max Buri Die Dampfschiffahrt mk208
1909
Vom Kunstler 1912 zerschnitten
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Max Buri Brienzer Bauerin mit Korb mk208
um 1912
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Max Buri Oberlander Bauer mit Hut und Stock mk208
um 1912
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Max Buri Politische Unterhaltung mk208
1912
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Max Buri Junge Berner Oberlanderin mk208
um 1912
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Max Buri Brienzersee mk208
um 1912
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Max Buri Bildnis der Tochter Hedwig mk208
1913
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Max Buri Rothaariges Madchen mk208
1913
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Max Buri Bauernapaar am Sonntagnachmittag mk208
1913
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Max Buri Die Jasser mk208
1913
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Max Buri Am Brienzersee mk208
1914
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Max Buri Rosen in Glasvase mk208
um 1913
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Max Buri Rosen und Zitornen mk208
1914
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Max Buri Rosenstrauss mk208
1914
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Max Buri
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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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