Enrico Carlo Augusto Scuri was born in Bergamo in 1806 to Cristoforo and Francesca Maver, originally from the town of Serina. From an early age he manifested an innate passion for painting and fine arts. He enrolled in the Carrara Academy of Bergamo in 1819. Followed by Maestro Giuseppe Diotti, he had Francesco Coghetti and Giovanni Carnovali as companions, becoming a great friend of Costantino Rosa. During his studies he won two first prizes in the annual competition of 1823 organized by the Academy, one in the section of the drawn copy and the other in the section dedicated to nude portraits. His fame grew thanks to the exhibitions he took part in, both at the Carrara Academy and at the Brera Academy of Fine Arts in Milan. The commissions for his paintings increased considerably, even outside the provincial borders. He worked with Giuseppe Diotti in the execution of the frescoes of the dome of the Incoronata Temple in Lodi (1836-1840) and in 1839 he was appointed art partner of the Brera Academy for his merits as a history painter, while at the beginning of 1841 he received the task of substituting Diotti at the helm of the Carrara Academy. In 1846 he was appointed professor and director of Carrara in all respects after Diotti's death. He taught painting to new students, among which Giovanni Gavazzeni and Ponziano Loverini from Valtellina stood out. He died in May 1884 after a short illness, leaving the direction of the school of painting, maintained for about 43 years, in Loverini. The first paintings by Scuri traced the neoclassical style of his master Giuseppe Diotti, characterized however by greater accuracy and attention to detail. Later he felt the romantic influence, which we can verify in the colors used, characterized by a great chromatic vivacity with a predominance of blue. His works touched both the sacred and the profane and a large number of paintings can be found in the provinces of Milan and Lodi, in that of Brescia, Cremona and Pavia, but also in Bologna, Trento, Urbino and Venice. He is often remembered as a belated exponent of classicism, in times now turned to Verism and Realism.