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View of Windermere Lake, early morning

View of Windermere Lake, early morning
 1781

Medium
oil on canvas
Credit Line
National Gallery of Victoria, Melbourne
Felton Bequest, 1933
Gallery location
19th Century European Paintings Gallery
Level 2, NGV International
 

About this work

Painted only three years before the artist’s death, this work shows George Barret emulating the grand designs of British painter Richard Wilson while overlaying the landscape with the rising mists of early morning – one of Barret’s favourite effects. Barret achieved this while also adhering faithfully to the topographical features of the region. The group of travellers in the middle distance, awaiting the arrival of the ferry, may possibly have been executed by another artist.

Artwork Details

Medium
oil on canvas
Measurements
149.0 × 240.5 cm
Inscription
inscribed in brown paint l.l.: G. Barret / 1781
Accession Number
4712-3
Department
International Painting
Credit Line
National Gallery of Victoria, Melbourne
Felton Bequest, 1933
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Ms Carol Grigor through Metal Manufactures Limited
Gallery location
19th Century European Paintings Gallery
Level 2, NGV International
Subjects (general)
Animals Landscapes
Subjects (specific)
cattle clouds dog (species) domestic sheep (species) lakes (bodies of water) mountains United Kingdom (nation) Windermere (lake)
Frame
English, late 18th century

Frame

The frame on Barret’s View of Windermere Lake, early morning is more than likely the frame used to present the painting at the Royal Academy in 1781. Unlike the frame for Wright of Derby’s The Synnot Children from the same date, this frame is an example of the transition from carved timber to the use of cast composition ornament. Though largely carved from timber, elements of the surface have been made with composition. While the leaf ornament of the leading edge and part of the run of leaves on the inner scotia are carved in timber, the inner scotia leaves and the detail on the back edge are moulded and glued in place.
The painting was cleaned and restored in 1987.

Frame Details

Framemaker
Unknown - 18th century
Date
1781
Materials

Wood, composition, gold leaf

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