Page:Bryan's dictionary of painters and engravers, volume 1.djvu/128

 having run tlirough a considerable property, com- menced practice as an artist, but never attempted more than the portraits of horses. Young Barko' early sliowed a remarkable genius for drawing figures and designing landscapes ; and on the removal of his family to Bath, the liberal encouragement of Mr. Spackman, an opulent coach-buildei of that city, afforded him the means of following up the bent of his inclination. During the first four years he employed himself in copying the works of the old Dutch and Flemish masters, which he imitated very successfully. At the age of twenty-one he was sent to Rome, with ample funds to maintain his position there as a gentleman. While in that city lie painted but little, contenting hhnself with storing his mind with such knowledge as might be applied usefully hereafter. In drawing or painting he never took a lesson ; he was entirely self-taught. Barker was an occasional exhibitor at the Royal Academy and the British Institution for nearly half a century, during which period he sent nearly one hundred pictures. His numerous productions embraced almost the entire range of pic- torial subjects, and have the marks of true genius stamped upon them. Few pictures of the English school are more generally known and appreciated than 'The Woodman,' of which it appears two were painted, both of them from nature, and of life size : the first was sold to Mr. Macklin for 500 guineas ; the second, which realized the same sura, became the property of Lord W. Paulett. In 1821 he painted the 'Trial of Queen Caroline,' in which he introduced portraits of many celebrated men ; but perhaps the noblest effort of Barker's pencil was the magnificent fresco, 30 feet in length, .and 12 feet in height, representing 'The Inroad of the Turks upon Scio, in April, 1822,' painted on the wall of his residence, Sion Hill, Bath, and possessing merits of the highest order, in compo- sition, colour, and effect. Wliile Barker's talents were in full vigour, no artist of his time had a greater hold on popular favour ; his pictures of 'The Woodman,' 'Old Tom ' (painted before he was seventeen years of age), and gipsy groups and rustic figures, were copied upon almost every available material which would admit of decor- ation : Staffordshire pottery, Worcester china, Manchester cottons, and Glasgow linens. At one time he amassed considerable property by the sale of liis works, and expended a large sum in erecting a mansion for his residence, enriching it with sculpture and other choice productions of art. He died at Bath in 1847. There are two pictures by Barker in the National Gallery : ' A Woodman and his Dog in a Storm,' and a Land- scape, perhaps on the Somerset Downs.

BARKER, Thomas Jones, a popular painter of battle-pieces and military subjects, was the son of "Barker of Bath," from whom he received his first 'teaching, and was born in 1815. At the age of nineteen he went to Paris, and entered the studu) of Horace Vernet, on many of whose pictures he collaborated. His first pictures were exhibited in Paris, among them a ' Death of the Grand Monarquo ' for Louis Philippe. Among his later works were 'Meeting of Wellington and Blucher after Waterloo,' 'Nelson's Prayer in the cabin of the Victory,' ' The S'cret of England's Greatness,' and 'The Riderless Horse, after Sedan.' Barker died March 29, 1882.

BARLOW, Fbanois, an English pamter and engraver, born in Lincolnshire in 1626, was the pupil of William Sliepliard, a portrait painter. He excelled in representing animals, birds, fish, &c., which he drew with great accuracy ; and if his colour and touch had been equal to his drawing, he would have ranked amongst the most eminent painters of those subjects. The land- scapes he introduced into his pictures are very pleasing. Hollar engraved in 1671 a set of thir- teen plates, after his own designs, entitled ' Several ways of Hunting, Hawking, and Fishing, in- vented by Francis Barlow.' Some of the plates for Edward Benlowe's divine poems, called 'Theo- pliila,' published in 1652, were engraved by Bar- low. He published a translation of ' .^sop's Fables,' in 1665, with 110 plates, etched from, his own designs. He also painted ceilings, and designed monuments for Westminster Abbey. He frequently signed his plates F. B., sometimes enclosed in a circle. He died in 1702.

BARLOW, J., practised as an engraver in London at the end of the 18th century. He engraved some of the illustrations to Ireland's 'Hogarth,' published in 1791, and for ' Rees's Cyclopaedia.' "barlow, Thomas Oldham, a mezzotint engraver, was horn at Oldham in 1824. He was articled to a firm of engravers at Manchester, and studied in the school of design in that city. His first engraving after his arrival in London in 1847 was from the work of John Philip, the most important of whose pictures he engraved. In 1856 he engraved Millais' ' Huguenots,' and in 1865 his 'My first Sermon.' He subsequently produced plates after the portraits of public characters which were painted by Millais for Messrs. Agnew. In 1873 Barlow was elected an associate engraver of the Royal Academy, in 1876 a full associate, and in 1881 an academician. He died at Kensington in 1889. ., , . ,

BARNA (or Berna), of Siena, flourished m the latter half of the 14th century. He painted at Siena, Cortona, Arezzo, and at San Gimignano, where a much damaged series of frescoes still exists. These frescoes, which are almost all that remain to testify to Barna's art, represent the 'Passion of our Lord,' and are executed somewhat after the manner of Simone Martini. Vasari tells us that Barna died in 1381, from injuries received by a fall from a scaffold, while painting in the church of San Gimignano.

BARNABA da MODENA. See Modena.

BARNABEI, Tommaso, known as Maso Papacello, was a pupil of Luca Signorelli, and aided Giulio Romano at Rome. At about 1523-4 he assisted Giambattista Carporali at the villa of Cardinal Passerini, near Cortona. He painted three pictures, representing the ' Annunciation,' the ' Conception,' and the ' Adoration of the Magi,' in the church of Santa Maria del Calcinaio, near Cortina, and finally settled at Perugia, where he died in 1559. ,.

BARNARD, Frederick, was born in London in 1846. He studied first at Heatherley's Art School in Newman Street and afterwards under Bonnat in Paris. His earliest publication was a set of charcoal drawings, entitled 'The People of Paris.' His first contribution to 'Punch' appeared in 1863. Barnard's best-known work was the illustration of the household edition of the works of Charles Dickens (1871-9). Many of his drawings appeared in ' Good Words,' ' Once a Week,' and ' The Illustrated London News.' He illustrated an edition