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maelstrom of battle whilst at the same time depicting with utter clarity the moment when the decisive command was issued, the artist offering the viewer an opportunity to witness this significant moment first hand. Waterloo is a battle remembered in popular consciousness for a number of significant moments—the charge of the Union
Brigade, the defence of Hougoumont and the repeated attacks of the French cavalry—all of which have been celebrated in famous paintings of national importance. Barker's monumental work can be adjudged to be in the same class and is certainly the most significant artistic depiction of one of Waterloo's most significant moments.
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592:….Barker was not favoured by the art critics of his day, nor was he rewarded with membership of the Royal Academy." He nevertheless occupied a pre-eminent place in a particular niche of British art; a retrospective on his 40-year career written in 1878 began, "If England possessed, what France has at Versailles, a gallery almost expressly devoted to a pictorial record of her military exploits, the artist whose works would find the most prominent place in such a collection would assuredly be Mr. T. Jones Barker, who is certainly the
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focuses on the intensity of their love, picking up the broader theme of illicit lovers but also highlighting Byron's homage to Dante's Paolo and
Francesca." Barker's imagery is chaste—the lovers are fully dressed—but does include some subtle symbolism: a bejeweled sword with a bit of blood at the tip and a bejeweled cap to represent the carnal congress of the lovers, and the silhouette of an alert stag in the far distance to represent the cuckolded Azo. The dog in the painting may be Barker's dog Mentor, who also appears in
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968:, in a story that purported to recount the visit of an African ambassador sent by his monarch to discover the secret of England's greatness. Victoria "did not…show the ambassador her diamonds and her jewels, and her rich ornaments, but handing him a beautifully bound copy of the Bible, she said, 'Tell the Prince that THIS IS THE SECRET OF ENGLAND’S GREATNESS.'"
1945:, exhibition catalogue and essays edited by Jan Marsh, published in conjunction with an exhibition held at the Manchester Art Gallery 1 Oct. 2005-Jan. 6, 2006, and the Birmingham Museum and Art Gallery 28 Jan.-Apr. 2, 2006; Aldershot, Hampshire and Burlington, Vermont: Lund Humphries, 2005, pp. 57–67.
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was completed in 1839 and was shown at Paris Salon of 1841. Princess Marie, an artist in her own right, declared it "to be a revival of the intellectual" in art. The contemporary French poet J-F. Destigny described it as "a dark memory, an intimate pain, a thrilling drama of love and misfortune that
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On a formal level, "the arrangement in the painting of the two protagonists recalls a number of iconic visual precedents such as the visit of the Magi to the Virgin and Child, whilst the kneeling black figure is reminiscent of the typical
Abolitionist depiction of the freed slave.…Everything in the
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A dozen of those paintings depicted hunters, poachers, dogs, and game. Barker's earliest known work, a collaboration with his father from 1834, depicted a boy guarding game while his father, in the distance, goes about hunting with a rifle and dog. This early and enduring interest in hunting and in
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Right in the centre of Barker's composition
Wellington is instantly identifiable giving his famous order with an authoritative wave of his cockade whilst Maitland, pictured to the Duke's left, is echoing the order with an upward slash of his sword. It's a dramatic scene that captures the swirling
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A contemporary critic noted that it was such "scenes of modern warfare by which Mr. Barker has chiefly made his reputation, and that have become popular by means of the engraver's aid; many of these pictures have never been exhibited except in the galleries of the printsellers for whom they were
964:….although the subject depicted can be related to various colonial visits during Victoria’s reign, it is unlikely that the specific event that is depicted ever took place. It is an 'apocryphal anecdote'…." Barker may have been inspired by an image that appeared in 1859 on the front page of the
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tells the story of a deadly love triangle involving an
Italian nobleman, Azo, his young bride, Parisina, and Azo's bastard son, Hugo. Barker chose to illustrate a passage in which "the two adulterers are lost in each other, oblivious to the danger of their love. By choosing these lines, Barker
271:, an effusive appreciation with a compendium of verses written in homage. Noting the presence of a dog in the picture (modeled on Barker's own dog), Empson noted that "the only living eye in the picture's composition is that of Mentor, and it is indeed wonderfully life-like."
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posted 13 March 2018 at harryprogger.com: "Marianne A. Barker (b.1802-d.1888)…married naval officer
Captain George Wallace in 1826 and is known to have exhibited a total of fourteen works at, amongst other, the Royal Academy and the British Institution between 1820 and
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1482:, a work of uncertain date known only from an engraving of 1878: File:Barker--Mazeppa--nd--engraving--Art Journal 1878 article.jpg. (12 November 2020). Wikimedia Commons, the free media repository. Retrieved 21:03, 12 November 2020 from
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Destigny (1841) p. 121: "C'est un noir souvenir, une intime douleur,/Un drame palpitant d'amour et de malheur,/Qui porte le cachet d'un noble charactère./C'est une œuvre où le cœur a surpassé l'esprit,/Un miroir attachant pour toute âme
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in 1858. Barker made a speciality of painting panoramic images with many figures whose faces were reproduced from actual portraits; when sold as engravings, these would be accompanied by a numbered key identifying the various persons.
753:, but also less exalted figures, as long as they could afford his fees. Barker also specialized in panoramic historical or imaginary gatherings which featured scores of recognizable officials and celebrities, such as
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523:. He achieved his greatest success as a military painter, both historical and contemporary. Some of his earliest military paintings were scenes from the Napoleonic Wars, including his 1853 Royal Academy piece
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932:," examined the painting at length, and prompted other art historians and social scientists to do likewise. It has become Barker's most discussed, deconstructed, and controversial painting work.
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Cabezas, Hervé. "La Mort de Louis XIV au palais de
Versailles, par Thomas Jones Barker (1813–1882). L'esquisse d'un tableau offert à Louis-Philippe, au musée Antoine-Lécuyer de Saint-Quentin,"
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in 1815, into a family of artists. His grandfather, Benjamin Barker, was "a failed barrister…who painted horses with limited success" and eventually became "foreman and enamel painter at the
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Karr (April 1842), p. 27: "Il y a de M. Barker une
Parisina pâmée sur les genoux d'un monsieur,—dont je recommande aux mères de famille de détourner les regards de leur fille."
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The catalogues for the Paris Salon from 1836 to 1850 repeatedly give his full name as Thomas Jones Henry Barker; the name "Henry" is not attested elsewhere. See for example
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218:. The first royal commission was a large painting depicting the death of Louis XIV at Versailles; this painting disappeared in the sack of the Palais Royal in the
1805:, catalogue of an exhibition held at the Victoria Art Gallery, Bath, 17 May-28 June 1986; introduction by Ian Fleming-Williams; Bath: Bath Museums Service, 1986.
203:, which received a bronze medal. (His father also exhibited in the Salon of 1836.) From 1836 to 1850, Barker showed 28 paintings at the annual Paris exhibition.
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File:Vernet, Horace - Mazeppa and the Wolves - 1826.jpg. (16 June 2019). Wikimedia
Commons, the free media repository. Retrieved 20:25, 10 November 2020 from
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wrote: "Both the image and its title are emphatic and unambiguous…should there be any remaining traces of uncertainty, however, there is a sub-title:
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Explication des ouvrages de peinture, sculpture, architecture, gravure et lithographie des artistes vivants, exposé au Musée Royal le 15 Mars 1841
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Explication des ouvrages de peinture et dessins, sculpture, architecture et gravure des artistes vivants, exposé au Musée Royal le 15 Mars 1842
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Barker died at his
Hampstead home, 32 Steeles Road, on 27 March 1882 at the age of 68, and was buried in a family grave on the western side of
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dogs provides a rare glimpse into Barker's personal life. In Paris, Barker had a dog named Mentor who appears in some of his paintings.
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bears the stamp of a noble character. It is a work where the heart has surpassed the mind, an endearing mirror for every broken soul."
905:"toured northern England and Ulster…Though popular in its day, subsequently it was virtually forgotten. Following its purchase by the
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in May 1860; heightening the realism were numerous portraits of the chief actors, which Barker based on sketches by Swedish artist
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https://commons.wikimedia.org/search/?title=File:Barker--Mazeppa--nd--engraving--Art_Journal_1878_article.jpg&oldid=512223606
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of 1842, exemplifies several of the influences on his work while in France—the historical drama and vivid detail of his teacher,
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1923:
MacCulloch, Laura. "Re-evaluating the 'Outsider': Ford Madox Brown and Cultural Dialogues in Mid-Nineteenth Century Europe" in
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222:. An oil on cardboard sketch for the work, made on the spot for the king, is in the collection of the Musée Antoine Lécuyer in
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sold for ÂŁ50,000 at Bonham's in London. The Bonham's catalogue reiterated Barker's primacy as a depicter of military history:
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422:, with its idealized depictions of the Middle Ages and the Renaissance; and literary inspiration, in this case the long poem
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of England.…We can scarcely pay Mr. Baker a greater compliment…he remains master of the battlefield among English artists."
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The temporal proximity of two paintings on the same subject may suggest that the two artists were in contact at this time;
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The painting stirred fresh popular and scholarly interest when it was presented in 2005 and 2006 as part of the exhibit
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Despite his popularity and commercial success, and the fact that he "contributed regularly to the Royal Academy and the
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https://commons.wikimedia.org/search/?title=File:Vernet,_Horace_-_Mazeppa_and_the_Wolves_-_1826.jpg&oldid=354983278
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928:. In the exhibition's catalogue and companion book, an essay by Jan Marsh, "Icon of the Age: 'Africa', Victoria and
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The Royal Academy of Arts; a Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904
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in the catalogue for the Paris Salon of 1842 quotes (in French translation) the lines that inspired the painting:
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1927:, ed. Wagner, David, and Klemenčič, Newcastle upon Tyne: Cambridge Scholars Publishing, 2017, pp. 112–126.
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Thomas Barker, Portrait of Priscilla Jones (later his wife and the mother of Thomas Jones Barker), c. 1802,
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1524:(1986) p. 18 notes that Brown painted Barker's portrait, but gives no location or date for that painting.
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and was given two royal commissions. For these works, the king conferred on Barker the Cross of the
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Inspired by another poem by Byron about a love triangle, and perhaps by Vernet, Barker would paint
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After studying under his father, in 1834, at age 19, he moved to Paris and became a student of
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were long unknown to scholars, until the painting appeared at an auction in New York in 2020.
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Barker returned to England in 1845. From that year to 1876, he exhibited 29 paintings at the
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Throughout his career in England, Barker painted portraits. These included notables such as
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and the surrender of Napoleon III. It is unclear whether he was a first-hand witness of the
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155:(19 April 1813 – 29 March 1882) was an English historical, military, and portrait painter.
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The painting's exhibition in Bath in 1845 occasioned the publication of Charles Empson's
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a Picture Painted by Thomas Jones Barker, of Paris (Son of Thomas Barker, Esq., of Bath)
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The painting stirred more discussion when it was prominently included in the exhibition
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171:, expert at painting sporting and animal figures." His father was the prominent painter
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1315:"Database of Salon Artists 1827–1850: Barker, Thomas Jones Henry [Barker fils]"
1301:"The Rescue Dog – A Staffordshire Earthenware Group & Its Possible Original Source"
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1656:, UCLA Dept. of Epidemiology, tells how this portrait came to be attributed to Barker.
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The next year, another painting inspired by the poem, by another Englishman in Paris,
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1138:, Jr., Portrait of Joseph Barker (both were uncles of Thomas Jones Barker), c. 1800,
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A set of figurines based on the image was produced by the toy company Royal Express.
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painting converges at the point where white hands and black hands nearly, but never,
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432:. (Vernet had similarly drawn inspiration from Byron with his painting of 1826,
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relates the rediscovery of this painting after years of neglect in a storeroom.
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1918:
British Artists and War: The Face of Battle in Paintings and Prints, 1700–1914
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The Charger of Captain Nolan Bearing Back his Dead Master to the British Lines
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Barker's work was so well received in France that he was invited to meet King
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Ancient Lights and Certain New Reflections, Being the Memories of a Young Man
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1887:"The Defence of Kars: Paintings by William Simpson and Thomas Jones Barker"
1740:"Lot 140, Thomas Jones Barker (British, 1815–1882), The Battle of Waterloo"
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includes the story "Sarony the Shark" that tells how Barker's 1871 painting
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2079:, Thomas Jones Barker's cousin (daughter of Benjamin Barker, Jr.), at the
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1882:, Vol. I, London: H. Graves and Co. Ltd. and George Bell and Sons, 1905.
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Portrait of a woman, two children, and terrier, 1878, private collection
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Thomas Barker (father of Thomas Jones Barker), Self-Portrait, c. 1794,
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An auction record for a Barker painting was set in 2015, when Barker's
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Jr., and Joseph Barker were also painters, as was his younger brother,
183:, and his cousin, Marianne A. Barker, daughter of his uncle Benjamin.
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Family grave of Thomas Jones Barker in Highgate Cemetery (west side)
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Queen Victoria Presenting a Bible in the Audience Chamber at Windsor
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Thomas Barker, portrait of his son Thomas Jones Barker, c. 1820,
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285:, it was considered Barker's most famous painting. The entry for
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Nilsson, Sten. "Egron Lundgren, Reporter of the Indian Mutiny,"
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Portrait of a gentleman and his horse, 1870s, private collection
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2016:
Database of Salon Artists 1827–1850: Barker, Thomas Jones Henry
2009:
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Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs
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Database of Salon Artists 1827–1850: Barker, Thomas Jones Henry
913:, much reproduced in books, and Barker's best-known painting."
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painted….the majority are on canvas of very large dimensions."
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in 1974, it became a favourite late twentieth-century icon of
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Barker's second royal commission was for the king's daughter,
2069:, Thomas Jones Barker's lesser-known younger brother, at the
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Des fleurs, des fleurs sur elle !... Orne sa blonde tĂŞte
1925:
Artists and Migration 1400–1850: Britain, Europe, and Beyond
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The Studio of Salvator Rosa in the Mountains of the Abruzzi
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Mais ne la pleure pas !... Elle avait trop de charmes
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Ton départ pour son cœur fut comme un coup de lance !
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Jr. (uncle of Thomas Jones Barker), Self-Portrait, n.d.,
465:'s painting of Parisina is lost, but a few studies exist.
1943:
Black Victorians: Black People in British Art, 1800–1900
1248:"Thomas Barker of Bath: imitator, copyist and chameleon"
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Black Victorians: Black People in British Art, 1800–1900
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Marie Effie (née Wilton), Lady Bancroft, c. 1870s-1882,
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Portrait of a hunter with dogs, 1873, private collection
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Laure is there on her bed, like a sleeping angel :
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in Bath. Before the more recent revival of interest in
1976:
Stone, Roger T. "Barker, Thomas Jones (1813–1882)" in
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1966:, Vol. XCII, No. 102 (August 1970), pp. 138–143.
1937:
Marsh, Jan. "Icon of the Age: 'Africa', Victoria and
1871:. Bath: The Museum, Terrace Walk, Orange Grove, 1845.
306:— Mais ses yeux sont éteints, sa poitrine est glacée.
1831:, Paris: Librairie GrĂĽnd, 1939, vol. I, p. 368.
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But her eyes are extinguished, her breast is frozen.
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in the catalogue for the Salon of 1841 includes the
1893:, Vol. LXIX, No. 277 (Spring 1991), pp. 22–28.
1891:
Journal of the Society for Army Historical Research
1373:This work was prominently displayed in the exhibit
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454: In that tumultuous tender dream ?
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Your departure was like a spear in her heart !
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Point de roses surtout; ce sont des fleurs de fĂŞte.
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Pauvre amant, le trépas t'a ravi l'espérance !
1640:came to be, and a key to 82 people in the picture.
675:HorsePower: The Museum of the King's Royal Hussars
364:like those girls of the forest with modest charms;
1987:Artist and Empire: Facing Britain's Imperial Past
1932:Thomas Barker of Bath: The Artist and His Circle,
981:Artist and Empire: Facing Britain's Imperial Past
859:Portrait of John Newton Mappin (1800-1884) 1877,
304:Viens couronner de fleurs ta jeune fiancée !
302:Laure est lĂ sur son lit, comme un ange qui dort:
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1381:, 27 October 2015 to 21 February 2016; reviewed
488:The whereabouts and precise imagery of Barker's
333:Cet ange, prisonnier dans nos vallons de larmes,
1820:, Vol. 71, No. 4 (Dec. 1989), pp. 660–673.
1771:, Vol. 12, No. 2 (Autumn 2011), pp. 58–62.
1715:"Royal Express Queen Victoria Presenting Bible"
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478:, here seen averting his gaze from the lovers.
450: They only for each other breathe...
353:Poor lover, death has robbed you of hope !
346:Come crown your young bride with flowers !
331:Pour vivre dans un monde ignorant du vrai beau.
313:Elle t'aimait dés l'aube, on t'éloigna le soir;
1836:La Revue des musées de France. Revue du Louvre
667:Departure of a Troop of 11th Hussars for India
375:This angel, a prisoner in our valley of tears,
2023:at the blog Unlucky General's Balaclava Build
1876:"Barker, Thomas Jones" (entry on pp. 114–115)
1849:, New Series, Vol. 4 (1878), pp. 97–100.
1266:"BARKER family, of Pontypool, etc., artists."
408:, one of three paintings he exhibited at the
366:Above all no roses; they are festive flowers.
362:Flowers, flowers for her! Adorn her fair head
355:She loved you at dawn, she was taken at dusk;
322:De ces filles des bois aux modestes attraits;
2029:, Thomas Jones Barker's grandfather, at the
1959:, vol. 19, issue 2 (June 2014), pp. 161–182.
446: Of aught around, above, beneath;
2037:Works by Thomas Barker (aka Barker of Bath)
2006:41 artworks by or after Thomas Jones Barker
1913:, Paris: Longe LĂ©vy & Cie., April 1842.
1761:"Fidelity or Fiction? Elizabeth Thompson's
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976:meet, over the transference of the Bible."
373:To live in a world ignorant of true beauty.
1183:Thomas Jones Barker, Self-Portrait, n.d.,
1168:Thomas Jones Barker, Self-Portrait, 1848,
257:La finacée de la mort (The Bride of Death)
31:
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708:Riderless Horse After the Battle of Sedan
548:In 1870, Barker observed on the spot the
371:But weep not for her! She was too sublime
175:, also called Barker of Bath. His uncles
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269:a Picture Painted by Thomas Jones Barker
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199:of 1836 with three paintings, including
2039:, Thomas Jones Barker's father, at the
1978:Oxford Dictionary of National Biography
1973:, no. 60, 1 December 1859, p. 237.
1906:, London: Chapman and Hall, Ltd., 1911.
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1071:Thomas Barker, Self-Portrait, c. 1796,
627:News of Battle: Edinburgh after Flodden
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2059:, Thomas Jones Barker's uncle, at the
2049:, Thomas Jones Barker's uncle, at the
1843:"British Artists: Thomas Jones Barker"
1621:The Surrender of Napoleon III at Sedan
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1810:"History and Legend in T.J. Barker's
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805:Portrait of Benjamin Disraeli, 1862,
730:Defence Academy of the United Kingdom
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1799:), Paris: Vinchon, 1842, p. 10.
1785:), Paris: Vinchon, 1841, p. 18.
1695:"Queen Victoria…" (1 December 1859).
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1087:Thomas Barker, Self-Portrait, n.d.,
505:Wellington at Sorauren, 27 July 1813
335:Devient libre par le tombeau !
295:
1953:"The Secret of England’s Greatness"
1838:, number 4, (2016), pp. 75–84.
1789:"Barker (Thomas-Jones-Henry)" entry
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1197:
201:Beauties of the Court of Charles II
186:
13:
1985:Gallery & Exhibition Reviews:
793:(detail), 1847, private collection
689:Surrender of Napoleon III at Sedan
568:, completed in 1859, was shown to
444:And heedless as the dead are they
317:Elle est morte de désespoir !
14:
2148:
2137:19th-century English male artists
2112:British people of the Crimean War
1999:
1995:, No. 29, 2016, pp. 152–157.
1939:The Secret of England's Greatness
1553:"Thomas Jones Barker (1815–1882)"
1319:humanities-research.exeter.ac.uk/
1224:"Barker (Thomas-Jones-Henry)" in
1170:National Portrait Gallery, London
941:The Secret of England's Greatness
930:The Secret of England's Greatness
926:Birmingham Museum and Art Gallery
903:The Secret of England's Greatness
895:National Portrait Gallery, London
891:The Secret of England's Greatness
881:The Secret of England's Greatness
846:National Portrait Gallery, London
653:National Portrait Gallery, London
308:Elle est Ă©pouse de la mort !
293:that inspired Barker's painting:
283:The Secret of England's Greatness
106:The Secret of England's Greatness
40:National Portrait Gallery, London
1980:, Oxford University Press, 2004.
1969:"Queen Victoria and the Bible,"
1858:, Paris, 1841, pp. 121–124.
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693:Blackburn Museum and Art Gallery
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496:Career in England: War paintings
452:Of guilt, of peril, do they deem
326:Des violettes, des cyprès !
277:is now in the collection of the
163:Thomas Jones Barker was born at
142:
2021:Thomas Jones Barker, War Artist
1855:Revue poétique du Salon de 1841
1765:and the Art of Re-construction"
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726:The Charge of the Light Brigade
448:As if all else had passed away,
350:She is the wife of death !
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1025:, undated, private collection.
129:Pricilla Jones Barker (mother)
1:
2097:19th-century English painters
2057:Works by Benjamin Barker, Jr.
1993:Journal of Museum Ethnography
1983:Zetterström-Sharp, Johanna. "
1934:Bath: Millstream Books, 2003.
1271:Dictionary of Welsh Biography
1191:
1013:
2132:Burials at Highgate Cemetery
1957:Journal of Victorian Culture
1213:, Paris, 1 April 1882. p. 3.
1207:Thomas Jones Barker obituary
1043:Gallery of the Barker Family
957:Journal of Victorian Culture
741:Career in England: Portraits
712:Southampton City Art Gallery
509:National Army Museum, London
377:Set free by the tomb !
7:
2077:Works by Marianne A. Barker
2067:Works by John Joseph Barker
1569:Graves (1905), pp. 114–115.
939:Oil on cardboard study for
649:The Relief of Lucknow, 1857
542:National Gallery of Ireland
400:, 1842, private collection.
386:
195:. He made his debut at the
10:
2153:
1920:, London: Greenhill, 1993.
1753:
1511:MacCulloch (2017), p. 124.
1377:(The King is Dead) at the
1334:Empson (1845) pp. 5 and 9.
436:.) The entry for Barker's
359:She died of despair !
16:British artist (1815–1882)
1896:Hueffer, Ford Madox (aka
1704:Zetterström-Sharp (2105).
1497:Explication des ouvrages…
1454:Explication des ouvrages…
1276:National Library of Wales
1226:Explication des ouvrages…
907:National Portrait Gallery
368:Violets, cypresses !
220:French Revolution of 1848
141:
136:
116:
93:
82:
60:
46:
30:
23:
2127:19th-century war artists
2027:Works by Benjamin Barker
1634:Sarony Exhibition Part 2
993:
671:The Girls We Left Behind
299:
1825:"BARKER (Thomas-Jones)"
1769:The British Art Journal
1346:Destigny (1841) p. 123.
2047:Works by Joseph Barker
1533:Hueffer (1911), p. 30.
1355:Bénézit (1939) p. 368.
1040:
1026:
1023:The Battle of Waterloo
1003:
948:
922:Manchester Art Gallery
901:Painted c. 1862–1863,
898:
576:, who had traveled to
545:
516:
466:
401:
341:
248:
169:japan works, Pontypool
110:The Battle of Waterloo
2102:English male painters
1864:Memoranda Relative to
1603:"Thomas Jones Barker"
1035:
1021:
1001:
938:
889:
774:Scarborough Town Hall
536:
503:
461:
396:
265:Memoranda Relative to
239:
224:Saint-Quentin, France
1866:The Bride of Death,
1396:"The Bride of Death"
1379:Palace of Versailles
1185:Victoria Art Gallery
1155:Victoria Art Gallery
1140:Victoria Art Gallery
1122:Victoria Art Gallery
1089:Victoria Art Gallery
1073:No. 1 Royal Crescent
511:, which provides an
279:Victoria Art Gallery
267:The Bride of Death,
245:Victoria Art Gallery
2107:British war artists
1916:Harrington, Peter.
1885:Harrington, Peter.
1823:Bénézit, Emmanuel.
1803:The Barkers of Bath
1719:liveauctioneers.com
1650:Thomas Jones Barker
1557:liveauctioneers.com
1522:The Barkers of Bath
1441:The Barkers of Bath
1431:Empson (1845) p. 5.
1412:Empson (1845) p. 3.
1289:The Barkers of Bath
609:The Faithful Knight
590:British Institution
550:Franco-Prussian War
515:about the painting.
159:The Barkers of Bath
153:Thomas Jones Barker
37:Self-Portrait, 1848
25:Thomas Jones Barker
1874:Graves, Algernon.
1808:Barryte, Bernard.
1795:(catalogue of the
1781:(catalogue of the
1031:Battle of Waterloo
1027:
1004:
987:in 2015 and 2016.
949:
899:
546:
517:
476:The Bride of Death
467:
402:
287:The Bride of Death
275:The Bride of Death
249:
241:The Bride of Death
231:The Bride of Death
181:John Joseph Barker
98:The Bride of Death
1861:Empson, Charles.
1841:Dafforne, James.
1686:Nead (June 2014).
1638:The Spa Promenade
1010:(plot no 15902).
1008:Highgate Cemetery
861:Museums Sheffield
770:The Spa Promenade
755:The Spa Promenade
631:St Andrews Museum
613:Museums Sheffield
507:, c.1853, at the
434:Mazeppa aux loups
384:
383:
150:
149:
2144:
1930:McCallum, Iain.
1909:Karr, Alphonse.
1852:Destigny, J.-F.
1818:The Art Bulletin
1759:Anchor, Rachel.
1748:
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1583:Dafforne (1878).
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483:Ford Madox Brown
463:Ford Madox Brown
419:Style troubadour
296:
291:ancienne ballade
216:Legion of Honour
212:Louis Philippe I
187:Career in France
146:
108:(c. 1862–1863),
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35:
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1898:Ford Madox Ford
1847:The Art Journal
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1364:Cabezas (2016).
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1136:Benjamin Barker
1133:
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1118:Benjamin Barker
1115:
1106:
1104:Holburne Museum
1100:
1091:
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1058:Holburne Museum
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966:British Workman
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255:; the painting
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72:Haverstock Hill
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2000:External links
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1775:"Barker" entry
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1654:John Snow site
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1499:(1842), p. 10.
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1456:(1841), p. 18.
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1375:Le Roi es mort
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562:The Relief of
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64:29 March 1882
63:
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50:19 April 1813
49:
45:
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34:
29:
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19:
2008: at the
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1743:
1734:
1722:. Retrieved
1718:
1709:
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1691:
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1606:
1597:
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1565:
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1496:
1495:"Barker" in
1491:
1479:
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1461:
1453:
1452:"Barker" in
1448:
1443:(1986) p. 5.
1440:
1436:
1427:
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1408:
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985:Tate Britain
980:
978:
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929:
917:
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911:Victorianism
902:
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789:Portrait of
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666:
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583:
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513:online essay
504:
489:
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109:
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66:(1882-03-29)
18:
2122:1882 deaths
2117:1813 births
1949:Nead, Lynda
1797:Paris Salon
1783:Paris Salon
1744:bonhams.com
943:, c. 1861,
710:, c. 1870,
629:, by 1850,
558:Crimean War
528:at Sorauren
410:Paris Salon
197:Paris Salon
2091:Categories
1911:Les GuĂŞpes
1724:21 October
1607:npg.org.uk
1211:La Liberté
1192:References
1014:At auction
974:must never
952:Lynda Nead
734:Shrivenham
526:Wellington
430:Lord Byron
86:Studio of
1763:Balaclava
1400:artuk.org
1252:artuk.org
757:of 1871.
751:Garibaldi
404:Barker's
137:Signature
112:(undated)
83:Education
76:Hampstead
1422:brisée."
924:and the
772:, 1871,
747:Disraeli
728:, 1877,
691:, 1870,
673:, 1866,
651:, 1859,
611:, n.d.,
540:, 1855,
490:Parisina
469:Byron's
438:Parisina
425:Parisina
406:Parisina
398:Parisina
388:Parisina
243:, 1839,
126:(father)
104:(1842),
102:Parisina
100:(1839),
1814:, 1865"
1754:Sources
1652:at the
1480:Mazeppa
983:at the
954:in the
920:at the
564:Lucknow
117:Parents
2081:Art UK
2071:Art UK
2061:Art UK
2051:Art UK
2041:Art UK
2031:Art UK
2010:Art UK
1964:Apollo
1304:1848."
1075:, Bath
566:, 1857
416:; the
414:Vernet
1941:" in
994:Death
578:India
94:Works
2083:site
2073:site
2063:site
2053:site
2043:site
2033:site
2012:site
1726:2021
1383:here
1230:and
749:and
669:aka
635:Fife
471:poem
165:Bath
61:Died
54:Bath
47:Born
1955:,"
1900:).
1878:in
1827:in
1791:in
1777:in
428:by
2093::
1991:,
1951:.
1889:,
1845:,
1816:,
1767:,
1742:.
1717:.
1679:^
1605:.
1574:^
1555:.
1504:^
1398:.
1339:^
1327:^
1317:.
1274:.
1268:.
1250:.
1238:^
1209:,
1199:^
732:,
633:,
530:.
226:.
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