Answer the question at the end by quoting:

Jose Raul Capablanca y Graupera (19 November 1888 - 8 March 1942) was a Cuban chess player who was world chess champion from 1921 to 1927. A chess prodigy, he is considered by many as one of the greatest players of all time, widely renowned for his exceptional endgame skill and speed of play. Born in Havana, he beat Cuban champion Juan Corzo in a match two days before his thirteenth birthday on 17 November 1901.
Capablanca's skill in rapid chess lent itself to simultaneous exhibitions, and his increasing reputation in these events led to a US-wide tour in 1909. Playing 602 games in 27 cities, he scored 96.4% - a much higher percentage than, for example, Geza Maroczy's 88% and Frank Marshall's 86% in 1906. This performance gained him sponsorship for an exhibition match that year against Marshall, the US champion, who had won the 1904 Cambridge Springs tournament ahead of World Champion Emanuel Lasker and Dawid Janowski, and whom Chessmetrics ranks as one of the world's top three players at his peak. Capablanca beat Marshall by 15-8 (8 wins, 1 loss, 14 draws) - a margin comparable to what Emanuel Lasker achieved against Marshall (8 wins, no losses, 7 draws) in winning his 1907 World Championship match. After the match, Capablanca said that he had never opened a book on chess openings. Following this match, Chessmetrics rates Capablanca the world's third strongest player for most of the period from 1909 through 1912. Capablanca won six games and drew one in the 1910 New York State Championship. Both Capablanca and Charles Jaffe won their four games in the knock-out preliminaries and met in a match to decide the winner, who would be the first to win two games. The first game was drawn and Capablanca won the second and third game. After another gruelling series of simultaneous exhibitions, Capablanca placed second, with 9 1/2 out of 12, in the 1911 National Tournament at New York, half a point behind Marshall, and half a point ahead of Charles Jaffe and Oscar Chajes. Marshall, invited to play in a tournament at San Sebastian, Spain, in 1911, insisted that Capablanca also be allowed to play. According to David Hooper and Ken Whyld, San Sebastian 1911 was "one of the strongest five tournaments held up to that time", as all the world's leading players competed except the World Champion, Lasker. At the beginning of the tournament, Ossip Bernstein and Aron Nimzowitsch objected to Capablanca's participation because he had not fulfilled the entry condition of winning at least third prize in two master tournaments. Capablanca won brilliantly against Bernstein in the very first round, more simply against Nimzowitsch, and astounded the chess world by taking first place, with a score of six wins, one loss and seven draws, ahead of Akiba Rubinstein, Milan Vidmar, Marshall, Carl Schlechter and Siegbert Tarrasch, et al. His loss, against Rubinstein, was one of the most brilliant achievements of the latter's career. Some European critics grumbled that Capablanca's style was rather cautious, though he conceded fewer draws than any of the next six finishers in the event. Capablanca was now recognized as a serious contender for the world championship.

Did they play each other again?

Answer the question at the end by quoting:

Thomas Cowperthwait Eakins (July 25, 1844 - June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy.
Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector. After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism. An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired. The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.

Did Eakins paint the things he photographed?
Some figures appear to be detailed transcriptions and tracings from the photographs by some device