Student Artwork Guide
Copyright This work is in the public domain. George Barret the Elder died in 1784; copyright lasts 70 years after the artist’s death, so it ended in 1854.
In context
Landscape With Two Figures — George Barret the Elder
Shaded: the lifetime of George Barret the Elder (1732–1784)
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Measured from the image
Main colour
Walnut #65532e
Catalogued palette
Artist and museum
Born in Libertyville, Ireland
Born: Between 1728 and 1732 in Libertyville, Ireland, the son of a cloth merchant.
Initially apprenticed as a staymaker before discovering his artistic talent.
Began formal drawing training at Robert West’s Academy in Dublin around 1747, sponsored by the Royal Dublin Society.
Subsequently taught drawing at the same academy, demonstrating early promise and skill.
A formative friendship with Edmund Burke, formed during Burke's time at Trinity College, Dublin, would prove crucial later in life.
Barret’s early paintings often featured classical scenery and mythological figures.
Influenced by: The philosophical writings of Edmund Burke, particularly A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, which informed his artistic approach to landscape.
He initially worked by reworking engravings of classical Italianate scenes by artists like Claude Lorrain, demonstrating a strong foundation in established styles.
Despite depicting Italian landscapes, there’s no evidence he ever travelled to Italy himself.
In 1762, Barret moved to London seeking greater artistic opportunities.
Quickly gained recognition as a leading landscape artist of the period.
Exhibited at the Society of Artists of Great Britain and attracted patronage from prominent art collectors.
Key Achievement: In 1768, Barret was among the founding members who left the Society of Artists to establish the Royal Academy – a pivotal moment in British art history.
Barret’s style evolved from idealized Italianate landscapes to more naturalistic depictions of English and Irish scenery.
He travelled extensively throughout England, Wales, Scotland, and Ireland, undertaking commissions and capturing the beauty of diverse landscapes.
Common themes included idyllic views, picturesque countryside, waterfalls (like his famous The Powerscourt Waterfall), and topographical representations of estates and properties.
His paintings often featured figures within the landscape, adding a sense of scale and narrative.
Suffered from asthma, leading him to relocate to Westbourne Green in 1772 for health reasons.
Despite earning substantial income, he was described as “feckless” with money and occasionally faced financial difficulties.
Continued Support: Edmund Burke remained a loyal friend and assisted Barret financially and professionally.
In 1782, Burke recommended Barret for the position of Master Painter of Chelsea Hospital, which he held until his death in 1784.
Although his widow and children were left destitute upon his death, the Royal Academy provided a small pension.
Barret’s work represents a significant transition in British landscape painting, moving from classical imitation to a more distinctly national style.
His paintings provide valuable insights into 18th-century landscapes and aristocratic life.
Many of his works are now held in prominent collections, including the National Gallery of Ireland and Yale Center for British Art.
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Look closely
Landscape With Two Figures — George Barret the Elder
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