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Luis de la Fuente Castillo (born 21 June 1961) is a Spanish football manager and former professional player who played as a left-back. He is the manager of the Spain national team . He amassed La Liga totals of 254 matches and six goals over 13 seasons, with Athletic Bilbao and Sevilla , winning two league titles with the former including a ...
Luis de la Fuente y Hoyos (January 17, 1914 – May 28, 1972), nicknamed "The Pirate", was a Mexican professional footballer, playing mostly on midfielder position. De la Fuente is considered one of the finest Mexican —and thus North American —midfielders of all time, being named to the IFFHS World Team for CONCACAF in 2021.
In the first years of the 19th century, many foreign artists visited and resided in Argentina, leaving their works. Among them were English mariner Emeric Essex Vidal (1791–1861), a watercolorist who left important graphic evidence of Argentine history; French engineer Carlos E. Pellegrini (1800–1875), who was devoted to painting out of necessity and who would be the father of president ...
Luis de la Fuente may refer to: Luís de la Fuente (bishop) (died 1566), Nicaraguan bishop; Luis de la Fuente (footballer, born 1914) (1914–1972), Mexican footballer Estadio Luis "Pirata" Fuente, Mexican stadium named after the Mexican footballer; Luis de la Fuente (footballer, born 1961), Spanish footballer
José de Madrazo y Agudo (22 April 1781– 8 May 1859) was a Spanish painter and engraver; one of the primary exponents of the Neoclassical style in Spain. He was the patriarch of a family of artists that included his sons Federico and Luis; and his grandsons, Raimundo and Ricardo.
José Luis Cuevas (February 26, 1934 – July 3, 2017) was a Mexican artist, he often worked as a painter, writer, draftsman, engraver, illustrator, and printmaker.Cuevas was one of the first to challenge the then dominant Mexican muralism movement as a prominent member of the Generación de la Ruptura (English: Breakaway Generation).
The wall in the painting itself is believed to have been scorched by a fire of unknown origin. [20] The lack of a background leads to the conclusion that De Morra is alienated from the outside world and a normal social life. [3] De Morra's right side of his face is in shadow due to the tilted angle of his head and light source on the left. [20]
The painting remains at the extended size but is currently (in November 2013) displayed behind a screen with a frame added over a cut-away section revealing only the original dimensions. Stylistic elements, such as the lightness, the economical use of paint, and the clear influence of the Italian Baroque , have led most scholars to assert that ...