1861 - 1931 was a German Impressionist painter and printmaker. He was born Leo Lesser Ury in Birnbaum, the son of a baker whose death in 1872 was followed by the Ury family's move to Berlin. In 1878 Lesser left school to apprentice with a tradesman, and the next year he went to D??sseldorf to study painting at the Kunstakademie. Ury spent time in Brussels, Paris, Stuttgart, and other locations, before returning to Berlin in 1887. His first exhibition was in 1889 and met with a hostile reception, although he was championed by Adolph von Menzel whose influence induced the Academie to award Ury a prize. In 1893 he joined the Munich Secession, one of the several Secessions formed by progressive artists in Germany and Austria in the last years of the 19th century. In 1901 he returned to Berlin, where he exhibited with the Berlin Secession, first in 1915 and notably in 1922, when he had a major exhibition. By this time Ury's critical reputation had grown and his paintings and pastels were in demand. His subjects were landscapes, urban landscapes, and interior scenes, treated in an Impressionistic manner that ranged from the subdued tones of figures in a darkened interior to the effects of streetlights at night to the dazzling light of foliage against the summer sky. Ury is especially noted for his paintings of nocturnal cafe scenes and rainy streets. He developed a habit of repeating these compositions in order to sell them while retaining the originals, and these quickly made and inferior copies have harmed his reputation.  Related Paintings of Lesser Ury :. | Even likeness | Otto Brahm in its box of the German of theater | Estaminer | Nollendorf Square at Night (nn02) | Abend am Landwehrkanal |
Related Artists:
BROEDERLAM, Melchior
Netherlandish Gothic Era Painter, ca.1355-1411 South Netherlandish painter. Broederlam's family, long-established in Ypres, provided three aldermen for the city and sided with the French Counts of Flanders against the Flemish populace. After a training that may have included contact with Jan Boudolf in Bruges before 1368 or Paris after 1370 and an extended visit to Italy, the artist became, by 1381, an official painter of the reigning count, Louis de M?le (reg. 1346-84), painting leather chairs, pennons and banners. On 13 May 1384, directly after Louis's death, he was appointed a valet de chambre to the count's heir, Philip the Bold, Duke of Burgundy.
Jacopo Vignali
Italian painter who died on 03 August 1664 Italian painter. At an early age he entered the studio of Matteo Rosselli in Florence, and his first works, Virgin and Saints (1616; Florence, S Brigida, Santuario della Madonna del Sasso) and the ceiling painting Love of the Fatherland (1616; Florence, Casa Buonarroti), were influenced by Rosselli and Ludovico Cigoli. In 1616 he enrolled at the Accademia del Disegno in Florence, becoming an academician in 1622. In the 1620s he moved away from Rosselli's influence and developed a style distinguished by dramatic light effects, rich colour and painterly technique and by the expression of deep emotion. The decade opened with the Investiture of St Benedict (1620; Florence, Semin. Maggiore), one of a series of works painted in honour of St Benedict for the Confraternit? di S Benedetto Bianco, to which Vignali had belonged since 1614. Having learnt the technique of fresco painting from Rosselli, he also began to work in that medium and was involved in the decoration of the Casa Buonarroti throughout the decade, the ceiling fresco Jacob's Dream dating from 1621.
Guido da Siena
Italian Byzantine Style Painter, 13th Century He may have made significant advances in the techniques of painting, much as Cimabue much later accomplished. However, there is some debate about this. Guido is primarily known for a painting which is now split into several pieces. The church of S. Domenico in Siena contains a large painting of the Virgin and Child Enthroned with six angels above. The Benedictine convent of the same city has a triangular pinnacle representing the Saviour in benediction, with two angels. This was once a portion of the same composition, which was originally a triptych. The principal section of this picture has a rhymed Latin inscription, giving the painter's name as Guido de Senis, with the date 1221. However, this may not be genuine, and the date may really read as 1281. There is nothing particular to distinguish this painting from other work of the same period except that the heads of the Virgin and Child are much superior ?C in natural character and graceful dignity ?C to anything painted before Cimabue. As a result, there is some dispute as to whether these heads are really the work of a man who painted in 1221, long before Cimabue. Crowe and Cavalcaselle have proposed that the heads were repainted in the 14th century, perhaps by Ugolino da Siena. If Crowe and Cavalcaselle are right, Cimabue maintains his claim to the advancement of the art. Beyond this, little is known of Guido da Siena. A picture in the Academy of Siena is attributed to him (a half-figure of the Virgin and Child, with two angels), which dates (probably) between 1250 and 1300.