James Barry and the Portraits of His Country Patron Edmund Burke : A Struggle by the Irish Catholic Artist in the 18th Century London <Articles>

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  • パトロン政治家バークを描くジェイムズ・バリー : 忘れられた十八世紀アイルランド人画家の葛藤 <論文>
  • パトロン政治家バークを描くジェイムズ・バリー : 忘れられた十八世紀アイルランド人画家の葛藤
  • パトロン セイジカ バーク オ エガク ジェイムズ ・ バリー : ワスレラレタ ジュウハチセイキ アイルランドジン ガカ ノ カットウ

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The aim of this essay is two: at first I will illustrate the early life and achievement of the ‘forgotten' Irish Catholic painter, James Barry (1741-1806), who was from Cork, a southern capital town of Ireland and subsequently became a professor of painting at the Royal Academy in London (but expelled in the end). Secondly I will also show the close relationship of the painter with his country-fellow aesthetician and political philosopher, Edmund Burke (1729-97) by examining two Burke' s portraits by Barry both at Trinity College, Dublin (executed in c. 1771) and at National Gallery of Ireland (executed in c. 1774) with referring to their correspondence. Eventually I conclude that the Cork connection, in particular the Burke connection was very strong and important for Barry' s progress as a unique ‘established' artist in the late 18th century London, though Barry' s views of Art had been little by little developed in a different way from Burke' s ones since the painter' s 7-year-journey in the Continent, which in reality Burke and his family had financed. We can see a kind of ambivalent feeling, or the mixture between friendship and animosity of Barry toward his best country patron in these two oil paintings in Dublin.

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