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See also:BARRY, See also:- JAMES
- JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
- JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
- JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
- JAMES, DAVID (1839-1893)
- JAMES, EPISTLE OF
- JAMES, GEORGE PAYNE RAINSFOP
- JAMES, HENRY (1843— )
- JAMES, JOHN ANGELL (1785-1859)
- JAMES, THOMAS (c. 1573–1629)
- JAMES, WILLIAM (1842–1910)
- JAMES, WILLIAM (d. 1827)
JAMES (1741—1806) , See also:English painter, was See also:born at See also:Cork on the 1,th of See also:October 1741. His See also:father had been a builder, and, at one See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time of his See also:life, a See also:coasting trader between the two countries of See also:England and See also:Ireland. To this business of trader James was destined, and he actually made when a boy several voyages; but he manifested such an aversion to the life and habits of a sailor as to induce his father to suffer him to pursue his own inclinations, which led strongly towards See also:drawing and study. At the See also:schools in Cork to which he was sent he was regarded as a See also:prodigy. About the See also:age of seventeen he first attempted oil-See also:painting, and between that and the age of twenty-two, when he first went to See also:Dublin, he produced several large pictures, which decorated his father's See also:house, such as " See also:Aeneas escaping with his See also:Family from the Flames of See also:Troy," "Susanna and the Elders," " See also:Daniel in the Lions' Den," &c. At this See also:period he also produced the painting which first brought him into public See also:notice, and gained him theacquaintanceand patronage of See also:Edmund See also:Burke. The picture was founded on an old tradition of the landing of St See also:Patrick on the See also:sea-See also:coast of See also:Cashel, and of the See also:conversion and See also:baptism of the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king of that See also:district by the See also:patron See also:saint of Ireland. It was exhibited in See also:London in 1762 or 1763.
By the liberality of Burke and his other See also:friends, Barry in the latter See also:part of 1765 was enabled to go abroad. He went first to See also:Paris, then to See also:Rome, where he remained upwards of three years, from Rome to See also:Florence and See also:Bologna, and thence See also:home through See also:Venice. His letters to the Burkes, giving an See also:account of See also:Raphael, See also:Michelangelo, See also:Titian and Leonardo da See also:Vinci, show remarkable insight. Barry painted two pictures while abroad, an See also:Adam and See also:Eve, and a See also:Philoctetes, neither of them of any merit.
Soon. after his return to England in 1771 he produced his picture of See also:Venus, which was compared, though with little See also:justice, to the Galatea of Raphael, the Venus of Titian and the Venus de See also:Medici. In 1973 he exhibited his " See also:Jupiter and See also:Juno on See also:Mount See also:Ida." His
" See also:Death of See also:General See also:Wolfe," in which the See also:British and See also:French soldiers are represented in very See also:primitive costumes, was considered as a falling-off from his See also:great See also:style of See also:art. His fondness for See also:Greek See also:costume was assigned by his admirers as the cause of his reluctance to paint portraits. His failure to go on with a portrait of Burke which he had begun caused a misunderstanding with his See also:early patron. The difference between them is said to have been widened by Burke's growing intimacy with See also:Sir See also:Joshua See also:Reynolds, and by Barry's feeling some little See also:jealousy of the fame and See also:fortune of his See also:rival " in a humbler walk of the art." About the same time he painted a pair of classical subjects, See also:Mercury inventing the See also:lyre, and See also:Narcissus looking at himself in the See also:water, the last suggested to him by Burke. He also painted a See also:historical picture of See also:Chiron and See also:Achilles, and another of the See also:story of Stratonice, for which last the See also:duke of See also:Richmond gave him a See also:hundred guineas. In 1773 it was proposed to decorate the interior of St See also:Paul's with historical and sacred subjects; but the See also:plan See also:fell to the ground, from not See also:- MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)
meeting with the concurrence of the See also:bishop of London and the See also:archbishop of See also:Canterbury. Barry was much mortified at the failure, for he had in anticipation fixed upon the subject he intended to paint—the rejection of See also:Christ by the See also:Jews when See also:Pilate proposes his See also:release. In 1773 he published An Inquiry into the real and imaginary Obstructions to the Acquisition of the Arts in England, vindicating the capacity of the English for the See also:fine arts and tracing their slow progress hitherto to the See also:Reformation, to See also:political and See also:civil dissensions, and lastly to the general direction of the public mind to See also:mechanics, manufactures and See also:commerce. In 1774 aproposal . was made through See also:Valentine See also:Green to Reynolds, See also:West, See also:Cipriani, Barry, and other artists to )rnament the great See also:room of the Society for the Encouragement of !arts, Manufactures and Commerce in the Adelphi with historical tnd allegorical paintings. This proposal was at the time rejected by the artists themselves; but in 1777 Barry made an offer to paint the whole on See also:condition of being allowed the choice of his subjects, and being paid by the society the expenses of See also:canvas, paints and See also:models. His offer was accepted, and he finished the See also:series of pictures at the end of seven years to the entire See also:satisfaction of the members of the society, who granted him two exhibitions, and at different periods voted him 50 guineas, their See also:gold See also:medal and 200 guineas.
Of the six paintings making up the series, only one, that of the Olympic See also:Games, shows any See also:artistic See also:power.
Soon after his return from the See also:continent Barry had been chosen a member of the Royal See also:Academy; and in 1782 he was appointed See also:professor of painting in the room of Mr See also:Penny with a See also:salary of t3o a See also:year. Among other things, he insisted on the See also:necessity of purchasing a collection of pictures by the best masters as models for the students, and proposed several of those in the See also:- ORLEANS
- ORLEANS, CHARLES, DUKE OF (1391-1465)
- ORLEANS, DUKES OF
- ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
- ORLEANS, HENRI, PRINCE
- ORLEANS, HENRIETTA, DUCHESS
- ORLEANS, JEAN BAPTISTE GASTON, DUKE
- ORLEANS, LOUIS
- ORLEANS, LOUIS PHILIPPE JOSEPH
- ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
- ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
- ORLEANS, LOUIS, DUKE OF (1372–1407)
- ORLEANS, PHILIP I
- ORLEANS, PHILIP II
Orleans collection. This recommendation was not relished, and in 1799 Barry was expelled from the academy, soon after the See also:appearance of his See also:Letter to the Dilettanti Society, a very amusing but See also:eccentric publication, full of See also:enthusiasm for his art and at the same tame of contempt for the:living professors of it. After the loss of his salary, a subscription was set on See also:foot by the See also:earl of See also:Buchan to relieve him from his difficulties, and to See also:settle him in a larger house to finish his picture of See also:Pandora. The subscription amounted to £1000, with which an See also:annuity was bought, but on the 6th of See also:February 18o6 he was seized with illness and died on the 22nd of the same See also:month. On the 14th of See also:March his remains were interred in St Paul's.
As an artist, Barry was more distinguished for the strength of his conceptions, and for his resolute and persistent determination to apply himself only to great subjects, than for his skill in designing or for beauty in his colouring. His drawing is rarely See also:good, his colouring frequently wretched. He was extremely impulsive and unequal; sometimes morose, sometimes sociable and urbane; jealous of his contemporaries, and yet capable of pronouncing a splendid eulogy on Reynolds.
End of Article: BARRY, JAMES (1741—1806)
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