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|Chief Boatswains Mate Richard Cunningham||Serving on board the battleship USS Arizona, Richard Cunningham was helping tackle the fires on board after the ship was hit by two armour piercing bombs. At around 0810 a bomb penetrated her forward magazine and the ship exploded with the loss of 1177 men. Cunningham helped put out the last fires. The Arizona was never recovered and is today a national memorial visited by thousands of people.|
|Chief Gunners Mate John Land||John Lan was on the USS Maryland on the morning of December 7th. The Maryland - Old Mary - was moored alongside the USS Oklahoma when the Oklahoma was hit by nine torpedoes and capsized with great loss of life. Land and the crew of the Maryland helped the subsequent rescue of men from the overturned vessel.|
|Chief Gunners Mate Miguel Acuna||Miguel Acuna was serving aboard the repair ship USS Vestal on the morning of December 7th. Moored alongside the Arizona to complete scheduled repairs to some of the battleships equipment, tow torpedoes passed under the Vestal hitting the Arizona. The repair ship was pulled away from Arizonas burning wreck by the tug Hoga.|
|Chief Machinist Al Fickel||Joining the navy in 1939, Al Fickel was a seaman serving in the USS Pennsylvania on the morning of 7th December. The Pennsylvania was flagship of the US Pacific Fleet and in drydock at the time of the attack with her propellers removed. She was hit in the second wave attack at 0907. The damage was soon repaired and the Pennsylvania went on to serve with distinction in the Pacific Theatre.|
|Fireman 1st Class Quentin Pyle||Quentin Pyle served on the destroyer USS bagley at Pearl Harbor. Built in 1938, the Bagley was moored in the Southeast Loch close to the light cruiser USS St Louis, the only large ship to clear the anchorage during the attack. Wounded in the attack, Pyle went on to serve at Midway and The Coral Sea.|
|Lieutenant John Finn||Awarded the Congressional Medal of Honor for extraordinary heroism during the first attack by Japanese planes on the Naval air station, Kaneohe Bay. Finn secured and manned a .50 caliber machine gun mounted in a completely exposed position under heavy enemy machine gun strafing fire. Despite being seriously wounded, he continued to man this gun and to return the enemys fire until ordered to leave his post to receive treatment. He subsequently insisted on returning to supervise the rearming of three returning PBYs so that they could seek out the Japanese forces.|
|Machinists Mate Lyndle Lynch||Lyndle Lynch was on board the USS Utah, an auxiliary battleship built in 1911 and being used as a gunnery training school. The Utah was hit by two torpedoes early in the raid and capsized at 0810. Fifty four men are still entombed in the Utah which now serves as a War Memorial at Pearl Harbor.|
|Seaman 1st Class Ken Swedberg||Ken Swedberg was serving aboard the vintage 4-stack destroyer USS Ward south of Pearl Harbor on the early morning of December 7th. At 0645, the Ward fired on and sank a Japanese midget submarine trying to enter the anchorage, the first shots of the war.|
|Artist Details : Robert Taylor|
|Click here for a full list of all artwork by Robert Taylor|
The name Robert Taylor has been synonymous with aviation art over a quarter of a century. His paintings of aircraft, more than those of any other artist, have helped popularise a genre which at the start of this remarkable artist's career had little recognition in the world of fine art. When he burst upon the scene in the mid-1970s his vibrant, expansive approach to the subject was a revelation. His paintings immediately caught the imagination of enthusiasts and collectors alike . He became an instant success. As a boy, Robert seemed always to have a pencil in his hand. Aware of his natural gift from an early age, he never considered a career beyond art, and with unwavering focus, set out to achieve his goal. Leaving school at fifteen, he has never worked outside the world of art. After two years at the Bath School of Art he landed a job as an apprentice picture framer with an art gallery in Bath, the city where Robert has lived and worked all his life. Already competent with water-colours the young apprentice took every opportunity to study the works of other artists and, after trying his hand at oils, quickly determined he could paint to the same standard as much of the art it was his job to frame. Soon the gallery was selling his paintings, and the owner, recognising Roberts talent, promoted him to the busy picture-restoring department. Here, he repaired and restored all manner of paintings and drawings, the expertise he developed becoming the foundation of his career as a professional artist. Picture restoration is an exacting skill, requiring the ability to emulate the techniques of other painters so as to render the damaged area of the work undetectable. After a decade of diligent application, Robert became one of the most capable picture restorers outside London. Today he attributes his versatility to the years he spent painstakingly working on the paintings of others artists. After fifteen years at the gallery, by chance he was introduced to Pat Barnard, whose military publishing business happened also to be located in the city of Bath. When offered the chance to become a full-time painter, Robert leapt at the opportunity. Within a few months of becoming a professional artist, he saw his first works in print. Roberts early career was devoted to maritime paintings, and he achieved early success with his prints of naval subjects, one of his admirers being Lord Louis Mountbatten. He exhibited successfully at the Royal Society of Marine Artists in London and soon his popularity attracted the attention of the media. Following a major feature on his work in a leading national daily newspaper he was invited to appear in a BBC Television programme. This led to a string of commissions for the Fleet Air Arm Museum who, understandably, wanted aircraft in their maritime paintings. It was the start of Roberts career as an aviation artist. Fascinated since childhood by the big, powerful machines that man has invented, switching from one type of hardware to another has never troubled him. Being an artist of the old school, Robert tackled the subject of painting aircraft with the same gusto as with his large, action-packed maritime pictures - big compositions supported by powerful and dramatic skies, painted on large canvases. It was a formula new to the aviation art genre, at the time not used to such sweeping canvases, but one that came naturally to an artist whose approach appeared to have origins in an earlier classical period. Roberts aviation paintings are instantly recognisable. He somehow manages to convey all the technical detail of aviation in a traditional and painterly style, reminiscent of the Old Masters. With uncanny ability, he is able to recreate scenes from the past with a carefully rehearsed realism that few other artists ever manage to achieve. This is partly due to his prodigious research but also his attention to detail: Not for him shiny new factory-fresh aircraft looking like museum specimens. His trade mark, flying machines that are battle-scarred, worse for wear, with dings down the fuselage, chips and dents along the leading edges of wings, oil stains trailing from engine cowlings, paintwork faded with dust and grime; his planes are real! Roberts aviation works have drawn crowds in the international arena since the early 1980s. He has exhibited throughout the US and Canada, Australia, Japan and in Europe. His one-man exhibition at the Smithsonians National Air and Space Museum in Washington DC was hailed as the most popular art exhibition ever held there. His paintings hang in many of the worlds great aviation museums, adorn boardrooms, offices and homes, and his limited edition prints are avidly collected all around the world. A family man with strong Christian values, Robert devotes most of what little spare time he has to his home life. Married to Mary for thirty five years, they have five children, all now grown up. Neither fame nor fortune has turned his head. He is the same easy-going, gentle character he was when setting out on his painting career all those years ago, but now with a confidence that comes with the knowledge that he has mastered his profession.
More about Robert Taylor
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