Adam's IRISH OLD MASTERS 5th November 2024

72 in the National Gallery of Ireland. The left hand side of the composition of both pictures is largely the same, as large trees grow out of a rocky es - carpment from which a natural cascade flows into a river. As often, here Barret’s handling of flowing water is masterly, adding a dynamic sense of movement to this portion of the composition. The right hand sides of the two pictures are, however, noticeably differ - ent. In the National Gallery of Ireland work, a fisherman casts his line, rather optimistically, into the rapids, rather than into the still pool of wa- ter where he may have had better luck. In our work, by contrast, the com- position is animated by a traveller with a white packhorse progressing to the right who has encountered a rustic figure, perhaps another traveller, or shepherd, accompanied by his alert and animated dog. Throughout the whole painting, the palette is controlled in a relatively low key and with none of the chromatic highlights – flicks of red in costumes – that can sometimes distract. Instead landscape and figures blend into a harmonious and very pleasing unity, which is emphasised by the subtly portrayed, even fall of light throughout the painting. This is a classical landscape certainly, but one based on the artist’s clear study of the land- scape of his native land, and, most particularly, the scenery of the Dargle Valley in County Wicklow. Barret was born in Dublin probably in 1732. Little is known of his family background except that he was born in the Liberties, the son of a clothier. At about the age of fourteen Barret entered the drawing school of Robert West (soon to be taken over the Dublin Society), which exclusively taught drawing through the copying of prints, drawings and casts. In 1747 the young Barret came to public attention for the first time when as a young student at the Drawing School he was awarded a premium for his pro- ficiency. At some point in the late 1740s or very early 1750s, Barret received his first notable commission when he was employed by Joseph Leeson to paint a series of landscapes which were set into decorative plaster frames in the Library (now the Din - ing Room) of his newly-built house at Russborough, County Wicklow. The capriccios Barret painted for Leeson, if more classically inspired than some of his later works (particu - larly in the depiction of the architec- ture), are delightful and they set the tone for the rest of his Irish-period oeuvre. Through the 1750s, and particular - ly the early 1760s, Barret continued to develop his personal style. The somewhat schematic structural characteristics of the 1740s remain, but his paintings become more boldly rendered and enlivened with increasing success by diminutive figures that evolve from Rococo Ital - ianate staffage to more substantial and convincing fishermen or way - farers – as here. In the years imme- diately preceding his departure for London, Barret seems to have been exceptionally busy and he received commissions from the most exalt- ed levels of Irish society. During his formative years in Ireland Barret enjoyed the patronage of, among others, the Peppers of Ballygarth Castle and the Bectives of Headfort, and painted accomplished, classical landscapes, capriccios, house por- traits, topographical views and, on occasion, hybrid compositions that drew on all of these models. George Barret c. 1732-1784 A Landscape with Fishermen Oil on canvas, 97 x 133cm Presented, Mr T. Berry, 1854, (NGI 1909) Courtesy of the National Gallery of Ireland