Gilbert Stuart, 1794 - Portrait of Richard Barrington, Later Fourth Viscount - fine art print

In the year 1794 the painter Gilbert Stuart painted the artwork titled "Portrait of Richard Barrington, Later Fourth Viscount". Today, this piece of art is part of the Los Angeles County Museum of Art's digital collection. We are happy to mention that this artpiece, which is part of the public domain is included - courtesy of Los Angeles County Museum of Art (www.lacma.org).: . The alignment of the digital reproduction is portrait with an aspect ratio of 1 : 1.2, which means that the length is 20% shorter than the width. The painter Gilbert Stuart was a North American artist, whose art style can be classified as Rococo. The Rococo artist lived for a total of 73 years - born in 1755 in North Kingstown, Washington county, Rhode Island, United States and passed away in the year 1828 in Boston, Suffolk county, Massachusetts, United States.

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• Metal (aluminium dibond print): An Aluminium Dibond print is a print material with an impressive effect of depth. A direct Aluminium Dibond Print is the perfect start to the sophisticated world of fine reproductions on aluminum. The bright & white components of the original artwork shine with a silk gloss, however without the glow. Colors are luminous and vivid in the highest definition, the details of the print are crisp and clear, and you can literally perceive the matte appearance of the print.
• Printed poster (canvas material): The poster print is a printed sheet of canvas with a slight texture on the surface. Please bear in mind, that depending on the size of the poster we add a white margin of something between 2-6 cm round about the print to facilitate the framing.
• Acrylic glass print (with real glass coating): An acrylic glass print, often referenced as a an art print on plexiglass, will change the artwork into home decoration and forms a great alternative option to aluminium or canvas prints. With an acrylic glass fine art print contrasts and smaller artwork details become more visible due to the subtle gradation. Our acrylic glass protects your custom fine art print against sunlight and heat for many decades.
• The canvas print: The printed canvas, not to be confused with a canvas painting, is a digital copy printed on a UV direct printer. Also, a canvas creates a soft and positive appearance. A canvas print has the advantage of being relatively low in weight. This means, it is quite simple to hang the Canvas print without the support of any wall-mounts. A canvas print is suited for all types of walls.

Legal disclaimer: We try the best we can in order to depict our products as clearly as possible and to exhibit them visually on the different product detail pages. At the same time, the colors of the print products and the print result might differ marginally from the image on your monitor. Depending on your screen settings and the quality of the surface, color pigments might not be printed as exactly as the digital version on this website. Bearing in mind that all our are processed and printed manually, there may as well be minor deviations in the exact position and the size of the motif.

About this article

Structured information on the artwork

Background information about the artist

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Artwork specifications from the museum (© - by Los Angeles County Museum of Art - www.lacma.org)

Little is known about Richard Barrington (died 1814 in Valenciennes), who became the fourth viscount Barrington in 1801. He married Susannah Budden (1761-1830) of Philadelphia, daughter of Captain William and Louisa Cuzzins Budden, in 1783. Although the Barrington family belonged to the peerage of Ireland, their principal residence was listed in 1783 as Becket House, Shrivenham, England. In 1785 Stuart painted a portrait in London of Richard Barrington’s uncle, Admiral Samuel Barrington. It is possible that Captain William Budden’s family moved to England after the Revolution. The subject was associated with London, Dublin, and Philadelphia, the cities where Stuart spent three of his most important periods, but the style of the painting appears to be that found in the portraits Stuart painted in New York immediately after his return to this country in 1793. As in those portraits, Barrington’s figure is drawn as though immediately against the picture plane, a silhouette established from the indefinite background. The seriousness and direct gaze of the subjects of these portraits contribute to a feeling of sensitive realism, enhanced by skillfully differentiated textures.