Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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Here are all the paintings of Giovanni Migliara 01

ID	Painting	Oil Pantings, Sorted from A to Z	Painting Description
92073		Frati in cucina	1827(1827) Medium oil on canvas Dimensions Height: 59 cm (23.2 in). Width: 44.3 cm (17.4 in). cyf
30678		Interior of Basilica of San Lorenzo	mk68 Oil on canvas Milan,Milan Museum 1822 Italy
92072		Interno del monastero di Altacomba	1833(1833) Medium oil on canvas cyf
87379		Veduta dei dintorni di Lecco	1815(1815) and 1820(1820) Medium Oil on canvas cyf
88279		Veduta di Palazzo Ducale a Venezia	1815(1815) Medium Oil on canvas cyf
91099		Veduta di Palazzo Ducale a Venezia	1815(1815) Medium oil on canvas Dimensions Height: 34.7 cm (13.7 in). Width: 45 cm (17.7 in). cyf
87533		Veduta di piazza del Duomo in Milano	Date 1819(1819) Medium Oil on canvas Dimensions Height: 47 cm (18.5 in). Width: 61 cm (24 in). cjr

Giovanni Migliara

Italian 1785-1837 He began his career as a scene painter with Gaspare Galiari (1761-1823) in Milan, working at the Teatro Carcano in 1804 and at La Scala from 1805 to 1809. Owing to illness, after 1810 he turned to small-scale works in watercolour or oil using various supports, including silk and ivory. At this date Milanese painting was dominated by Andrea Appiani and Luigi Sabatelli, both leading Neo-classical artists. However, Migliara remained aloof from this dominant movement and instead drew on medieval and historical subjects with Romantic undertones. His precise, jewel-like technique and choice of subject-matter found favour with aristocratic patrons in Milan. His figures are generally stilted and burdened by their costumes, though the crowd in Sacking of Minister Prina's House (1814; Milan, Gal. A. Mod.) is depicted with unusual fluency. In 1822 Migliara was appointed Professor of Perspective at the Accademia di Belle Arti, Milan, and in 1833 he was nominated painter to the court of Charles-Albert, King of Sardinia (reg 1831-49). More typical of his historical scenes is Entrance to the Castle of Plessis de la Tour (Turin, Gal. Civ. A. Mod.), which was exhibited at the Brera in 1833. He also produced many topographically precise pictures of church interiors in which he combined his training as a scene painter with his knowledge of intaglio techniques.

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