Early Life, Family and Training

Hermann Urban was born in 1866 in New Orleans, Louisiana, United States. His father was a German dentist, and his mother, Alice Fleury, was a French-born opera singer. When Urban was an infant, the family moved to Bad Aibling, Germany, in 1867. He grew up in the home of his grandparents on Sonnenstraße. His mother’s career took the family on travels, including trips as far as Rio de Janeiro, and by the age of ten, Urban spoke five languages.

The boy's interest in painting was noticed by the painter Wilhelm Leibl. Leibl saw talent in the young man and encouraged him to pursue the craft. This support helped guide Urban toward formal training. He began his studies at the Munich Art Academy on April 16, 1885. His time in the academy was marked by a certain lightness; he spent his days cycling, ice skating, and climbing mountains alongside his fellow students.

During his years in Munich, Urban learned under several instructors. He studied with Johann Caspar Herterich and Wilhelm von Diez. He also received instruction from Karl Raupp. These early years in the academy provided the foundation for his later work in landscape painting.

Travels and Artistic Development

By 1886, Urban had established his first studio in Munich on Amalienstraße. This period marked a transition from his formal studies toward a more independent practice. His focus shifted toward the landscape, often working alongside a group of artists in Neubeuern. This circle of painters eventually formed the Törwang colony, a collective centered around the shared study of the natural world.

The landscape of Italy drew him away from Munich between 1892 and 1894. During this time, he moved to Florence, where he became a student of Arnold Böcklin. These years in Italy shaped his approach to light and form. His later works often reflect this period through scenes like Lake Nemi in the Albanergebirge near Rome, painted in 1895.

His travels continued well into his maturity. In 1914, he visited Egypt, seeking different qualities of light and terrain. These excursions provided a steady stream of subjects for his canvases, ranging from coastal views to mountain scenery. His work remained tied to the physical realities of the places he visited, whether they were the Italian hills or the Egyptian landscape.

Technique and Artistic Style

Urban’s work often settles into the quietude of picturesque landscapes. He had a particular interest in the elegiac quality of ruins, capturing them within settings that bridge the gap between Realism and Impressionism. His approach to the surface of a painting was deeply technical and experimental. He spent years testing the chemistry of his materials, conducting 15,000 recipe trials and developing 12,000 different recipes for painting grounds. This obsession with the foundation of the image suggests a preoccupation with how light interacts with the physical layers of the work.

The textures he achieved were the result of these rigorous trials. He moved beyond simple oil on canvas, frequently employing encaustics and a specific U-resin color. This resinous medium was applied to various surfaces, including canvas, cardboard, and even glass. The use of U-resin color on glass allowed for a different kind of depth, while his work on cardboard offered a more immediate, tactile quality. His hands were as much those of a chemist as they were those of a painter, constantly seeking the right way to bind color to a surface.

• Südl. Küstenlandschaft mit steilem Ufer und..., 1924
• Lake Nemi in the Albanergebirge near Rome, 1895
• Opus 2804, VII, 1924. Große Terrasse mit..., 1924
• Op. 3372 I. Seelandschaft mit hügeligem Ufer und..., 1930
• „Opus 4205“ (Baum in weiter Landschaft mit...), 1924
• Malerische Küstenlandschaft mit Burghügel, 1941

Patrons and Official Recognition

By 1890, the studio in Munich's Amalienstraße had become a place where notable figures sought out his presence, including Franz von Lenbach. Such visits marked a period of growing standing within the local art circles. This professional momentum continued through the early decades of the century. In 1908, Prince Regent Luitpold of Bavaria appointed him Professor honoris causa, a title that reflected his established position in the Bavarian art scene.

His influence extended into the administrative life of the Munich art community. In 1918, he was elected to serve as the chairman of the Artists' Council in Munich. This role placed him at the center of the city's creative organization during a period of significant change. Later, during the years of the Second World War, his work found its way into the private collections of high-ranking officials, including Adolf Hitler, who acquired several of his pieces.

Later Years and Death

The final decade of Urban's life was marked by the political shifts of the era. He joined the NSDAP on May 1, 1933. During the years of the Second World War, his work was featured in several exhibitions, including the Great German Art Exhibitions in Munich between 1939 and 1944. His paintings from this period were acquired by various figures, including Hitler, Walter Funk, Artur Greiser, and Robert Ley.

The physical space of his practice was lost during the conflict. In 1944, an air raid destroyed his Munich studio. This destruction resulted in the loss of many of his works, some of which were destroyed by the blast and others that were stolen. Following the loss of his studio, he moved to Bad Aibling. He remained there until his death in 1946.