work with other artists. and particularly when animals were included. The Lowther painting of Knipe Scar included dogs that were painted by George Stubbs and the sportmen by Philip Reinagle and a painting sold in 1802 had figures attributed to Francis Wheatley. In the 1770?ÇÖs he was increasingly working with Sawrey Gilpin, a leading animal painter. A good example of their joint work is the view of Llyn Padarn and Dolbadarn Castle in Nottingham Castle Museum which shows a party about to board the ferry crossing the lake to Llanberis. The figures and animals are by Gilpin. Barret?ÇÖs co-operation with other artists including Gilpin at Norbury Park has already been noticed and it seems likely that he also provided the landscape backdrop for some of the artists with whom he worked. However Barret was competent in painting his own figures and animals and Bodkin remarks that such collaborations afford Barret?ÇÖs desire for friendly intercourse with his fellows, rather than to work on his own. Watercolours, Goauche, Etchings and Prints While Barret is better known for his oil paintings, he was also a notable watercolourist. Thomas Bodkin wrote His watercolours are rare, and far surpass those of his contempories. They are painted with great fluency.....The bold blueness of their skies, though usually now much faded, excites much admiration, when the distaste of the eighteen century for primary colour in landscape is remembered. Like John Sell Cotman, he was fond of painting watercoulour landscapes in monochrome. These were executed at times in Indian ink and at times in washes of pale blue. Goauche In the later part of his career Barret came to specialize in the Gouache technique of painting which had been introduced into Britain by the Italian artist Marco Ricci between 1708 and 1726. A dated example of G Barret (22 February 1781) shows Lake Ullswater: a party of tourists gathering to enjoy the prospects at the head of the lake. This suggests that Barret had made a tour in the Lake District in the year previous to 1781when he exhibited at the Royal Academy a View of Windermere Lake, in Westmoreland, the effect, the sun beginning to appear in the morning, with the mists breaking and dispersing (no.40). A gouache view of Ullswater in the National Gallery of Ireland, was used for an engraving by Samuel Middiman for Select Views in Great Britain. Middiman describes the view of the bold promontory of Hollin Fell, in the centre, taken from Soulby Fell, with: ?Çÿthe vast chaos of mountains that guard the Head of the lake beyond. Barret has included an elegant group of figures enjoying a picnic on Soulby-Fell on the right of the composition; a ferry transports more tourists and their horses across the lake to the base of this hill. Prints and Etchings Prints of Barret's work were published by William Watts in his Views of the Seats of the English Nobility and Gentry in 1779-1789 and in Samuel Middiman?ÇÖs Select Views in Great Britain published in 1783-1789. Watts
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