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8 January 1836 – 25 June 1912. Most renowned painters.

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Thomas Pakenham
The Battle of Arklow on 9 June,the Turning point of the Wexford rising

ID: 49397

Thomas Pakenham The Battle of Arklow on 9 June,the Turning point of the Wexford rising
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Thomas Pakenham The Battle of Arklow on 9 June,the Turning point of the Wexford rising


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Thomas Pakenham

19 October 1864?C21 August 1915  Related Paintings of Thomas Pakenham :. | Rebels dancing the Carmagnolle in a captured house by cruikshank | William Pitt | Erin Go Brach | Belfast Assembly Rooms | General Lake |
Related Artists:
Jules-elie delaunay
French Neoclassical Painter, 1828-1891
Antonio Pollaiuolo
1431-1498 Italian Antonio Pollaiuolo Galleries Sculptor, painter, designer and engraver. He was trained as a goldsmith and bronze sculptor, probably in Lorenzo Ghiberti workshop. In 1466 he joined the Arte della Seta, the silkworkers guild (to which goldsmiths traditionally belonged), and he listed himself as a goldsmith and painter in the membership records of the Compagnia di S Luca in 1473; this is the only documented reference to him as a painter. In his tax return in 1480 he reported that he was renting a workshop specifically for goldsmiths work. He still described himself as a goldsmith, and not as a painter, in his last tax return in 1496.
Procaccini, Andrea
Italian, 1671-1734 Italian painter, draughtsman and architect. A pupil of Carlo Maratti, he is first documented in 1702, among the restorers of Raphael's fresco decorations (1511-14) in the Vatican. His Tarquinius and Lucretia (c. 1705; Holkham Hall, Norfolk) has cold colours and unnatural gestures that recall Guido Reni. Appointed by Pope Clement XI, between 1710 and 1717 Procaccini supervised the tapestry factory in S Michele a Ripa: the Purification of the Virgin (Rome, Vatican, Consistory Hall) is the only extant tapestry made from a cartoon (untraced) by Maratti and an oil painting (untraced) by Procaccini. The Baptism of Cornelius Centurion (1711; Urbino, S Francesco) for the Baptism Chapel in St Peter's, Rome, was previously attributed to Maratti or Giuseppe Bartolomeo Chiari, but Procaccini apparently based it on sketches supplied by Maratti, who also supervised and revised the work before it was displayed.






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