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

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Thomas Pakenham
The Unfortunate Henry Sheares

ID: 49407

Thomas Pakenham The Unfortunate Henry Sheares
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Thomas Pakenham The Unfortunate Henry Sheares


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Thomas Pakenham

19 October 1864?C21 August 1915  Related Paintings of Thomas Pakenham :. | Loyalists awaiting attack by the rebels on a country house in Wicklow | Most of the French armada sent to Bantry By Limped back in January 1797 to their bases in France | The rebels executing their prisoners on the bridge at Wexford | Belfast Assembly Rooms | Dublin harbour with the domed Custom House in the background |
Related Artists:
Hiroshige, Ando
Japanese Ukiyo-e Printmaker, 1797-1858 Japanese painter and printmaker. He was one of the greatest and most prolific masters of the full-colour landscape print and one of the last great ukiyoe ('pictures of the floating world') print designers
Ferdinand Theodor Hildebrandt
painted Kinder in Erwartung des Weihnachtsbaumes in 1840
ASPERTINI, Amico
Italian Painter, ca.1474-1552 He was born in Bologna to a family of painters (Guido Aspertini and Giovanni Antonio Aspertini, his father), and studied under masters such as Lorenzo Costa and Francesco Francia. He is briefly documented in Rome between 1500-1503, returning to Bologna and painting in a style influenced by Pinturicchio. In Bologna in 1504, he joined Francia and Costa in painting frescoes for the newly restored Oratory of Santa Cecilia in San Giacomo Maggiore, a work commissioned by Giovanni II Bentivoglio. In 1507-09, he painted a fresco cycle in San Frediano in Lucca. Asperini painted in 1508-1509 the splendid frescoes in the Chapel of the Cross in the Basilica di San Frediano in Lucca. Aspertini was also one of two artists chosen to decorate a triumphal arch for the entry into Bologna of Pope Clement VII and Emperor Charles V in 1529. He died in Bologna. Giorgio Vasari describes Aspertini as having an eccentric personality, who, half-insane, worked so rapidly with both hands that chiaroscuro was split, chiaro in one hand, scuro in the other. He quotes Aspertini as complaining that all other Bolognese colleagues were copying Raphael. Aspertini also painted façade decorations (all lost), and altarpieces, many of which are often eccentric and charged in expression. For example, his Bolognese Pieta appears to occur in an other-worldy electric sky.






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