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
