Terms and Conditions
The artist, title and date of the work must be listed anywhere the image is reproduced:
George Barret
View of Windermere Lake, early morning 1781
oil on canvas
149.0 × 240.5 cm
National Gallery of Victoria, Melbourne
Felton Bequest, 1933
Photo: National Gallery of Victoria, Melbourne
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View of Windermere Lake, early morning
1781
Medium
oil on canvas
Measurements
149.0 × 240.5 cm
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 picture 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 level of artistry while also adhering faithfully to the topographical features of the Lake District 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
Inscription
inscribed in brown paint l.l.: G. Barret / 1781
Accession Number
4712-3
Department
International Painting
This digital record has been made available on NGV Collection Online through the generous support of Digitisation Champion Dame Carol Colburn-Grigor CBE through Metal Manufactures Limited
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