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The aim of the present article is to identify the strategies of two Italian painters from the last years of the Nineteenth Centrury to represent the death of composer Carlos Gomes that took place in Belem city, in 1896. The use of this "representation" by the Art Museum of Belem in the narratives of its collection is also object of study. For that, we reflect about the narrative procedures of the "historical painting" and its documental employ within the context of a tradition of reading "a" story from the establishment of the "gomesian" myth.
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