Page:Cyclopedia of painters and paintings - Volume I.djvu/143

 class, 1884. Works: Lakes of St. Paul-de-Varax (1880); Gust of Wind on Borders of La Manche, Noirand and his Mother (1883); La barrière, The Favourite (1884); Autumn, At the Top of the Heath of St. Sauveur-le-Vicomte (1885).

BARKER, THOMAS (called Barker of Bath), born near Pontepool, Monmouthshire, England, in 1769, died at Bath, Dec. 11, 1847. Son and pupil of Benjamin Barker (died 1793), animal painter; studied, 1790-93, in Rome, and exhibited three Italian landscapes in 1796. Painted chiefly rustic subjects, but his best work is a large fresco in his house at Bath, Inroad of the Turks upon Scio in 1822. His Woodman, Old Tom, The Gypsy, and other rustic groups, were very popular. Woodman and Dog in a Storm, National Gallery, London. His brother Benjamin (1776-1838) was an animal painter of some merit.—Redgrave; Art Union, 1848; Cat. Nat. Gal.

BARKER, THOMAS JONES, born at Bath, England, in 1815, died March 28, 1882. Battle and portrait painter, son and pupil of Thomas Barker, landscape painter, and student in 1834 in Paris of Horace Vernet; was a frequent exhibitor at the Salon from 1835 to 1845, and painted several pictures for Louis Philippe, notably The Death of Louis XIV., destroyed at Palais Royal in 1848. Returned about 1845 to England, where he exhibited many pictures at the Royal Academy. Works: The Troubadour (1849); News of Flodden (1850); Incident in Life of William Rufus, Meeting of Wellington and Blucher (1851); Allied Generals before Sebastopol, Relief of Lucknow, Napoleon after the Battle of Bassano, Wellington Crossing the Pyrenees, Dawn of Victory—Lord Clyde (1862); Horse Race at Rome (1865); Studio of Salvator Rosa (1865); A Moss-Trooper, Dean Swift and Stella (1869); The Melée—Charge of Cuirassiers and Chasseurs (1872); Riderless War Horses after Sedan (1873); Balaklava (1874); Return through the Valley of Death (1876).—Meyer, Künst. Lex., iii. 22; Art Journal (1858), 126; (1860), 183; (1861), 253; (1867), 158.

BARLOW, FRANCIS, born in Lincolnshire, England, in 1626, died in London in 1702. Animal painter, pupil of Wm. Sheppard, portrait painter. Began by painting portraits, but afterwards won reputation as an animal painter, engraver, and etcher.—Redgrave; Meyer, Künst. Lex., iii. 23.

BARNA (Berna), of Siena, latter half of 14th century, died in 1381 (?). No traces remain of the frescos which, according to Vasari, he painted in S. Margarita of Cortona and S. Agostino of Siena. In 1369 he went to Arezzo and executed many frescos, one of which still exists in the Vescovado, though much injured. The cathedral at S. Gimignano contains the injured relics, remains of a long series of frescos representing scenes from the New Testament, begun by Barna and finished after his death by Giovanni d'Asciano. In composition Barna appears to be a continuator of Duccio, while in type he follows the lead of Ugolino and Simone di Martino. His colour is an exaggeration of that of Simone, his drawing is minute, ornamentation copious, and treatment flat. Vasari says he was killed by a fall from a scaffolding at S. Gimignano.—C. & C., Italy, ii. 107; Meyer, Künst. Lex., iii. 24; Vasari, ed. Mil., i. 647; Gaz. des B. Arts (1859), ii. 170; Milanesi, Siena, 168.

BARNABA DA MODENA (Barnabas de Mutina), latter half of 14th century. Bolognese school. Contemporary of Tommaso da Modena, but superior to him; he also surpassed the Bolognese and Pisans of his time, and approached the better Sienese painters. His Madonnas, a favourite subject, have an affectation of grace, regular forms and proportions, pouting lips, and long-fingered and coarse-jointed hands. The earliest extant work by him, a Madonna in the Städel Gallery, Frankfort, dated 1367, well illustrates his style. Another Madonna, dated 1369, is in the Berlin Museum, and a