Francis Barlow stands as a seminal figure in the history of British art, a versatile and industrious artist of the 17th century whose work laid foundational stones for several genres, most notably animal painting and sporting art. Active as a painter, etcher, and illustrator, Barlow's meticulous observation of the natural world, particularly fauna, distinguished him in an era largely dominated by portraiture and historical subjects. His legacy, though sometimes overshadowed by later masters, is undeniable, marking him as a true innovator and, as many have termed him, the "Father of British Sporting Painting."
Early Life and Artistic Formation
Born in Lincolnshire around 1626, Francis Barlow's early life remains somewhat sparsely documented, a commonality for many artists of his time outside the immediate circles of courtly patronage. It is known that he relocated to London, the burgeoning artistic and commercial heart of England, to pursue his artistic training. There, he was apprenticed to William Shepherd (fl. c. 1635-1665), a portrait painter of some repute. While Shepherd's primary focus was portraiture, a staple of the artistic economy, Barlow's innate inclination towards the depiction of animals and nature must have begun to crystallize during these formative years.
The artistic environment in London during the mid-17th century was complex. The Civil War and Interregnum had disrupted traditional patterns of patronage, though demand for portraits persisted. The influence of Flemish and Dutch masters, particularly those specializing in genre scenes, landscapes, and animal painting, was increasingly felt through imported works and émigré artists. Figures like Sir Anthony van Dyck had earlier revolutionized British portraiture, and his influence, along with that of Peter Lely, who would rise to prominence during the Restoration, set a high bar for figurative painting. Barlow, however, was charting a different course.
By 1650, Barlow had completed his apprenticeship with the Painter-Stainers' Company of London, a significant guild for artists and craftsmen. He became a full member of the company in 1658. This affiliation provided a professional framework and community, though Barlow's unique specialization would soon set him apart.
The Emergence of an Animalier
Francis Barlow was arguably England's first native-born professional animal painter, or animalier. While animals had featured in British art before, often in heraldic contexts, as attributes in portraits, or within decorative schemes, Barlow made them his central subject. He approached his subjects with an unprecedented degree of naturalism and anatomical understanding for an English artist of his time. His dedication to observing animals in their natural habitats, or at least in settings that mimicked them, lent an authenticity to his work that was novel.
His paintings and drawings of birds, mammals, and hunting scenes quickly gained attention. He was not merely cataloging species; he was capturing their characteristic movements, their interactions, and the raw energy of the chase. This focus was a departure from the more allegorical or symbolic uses of animals common in earlier art traditions, aligning him more with contemporary Continental developments, particularly in the Low Countries where artists like Frans Snyders (1579-1657) and Jan Fyt (1611-1661) had established a powerful tradition of dynamic animal and hunting scenes. While Barlow may not have travelled abroad extensively, the circulation of prints and paintings would have exposed him to such influences.
Master of Etching and Illustration
Beyond his paintings, Francis Barlow was a prolific and highly skilled etcher and illustrator. Printmaking was a crucial medium for disseminating images widely and relatively affordably, and Barlow embraced its potential. His etchings are characterized by a lively line, a keen sense of composition, and an ability to convey texture and form with remarkable economy.
One of his earliest significant projects in this domain was providing illustrations for Edward Benlowes' metaphysical poem Theophila, or Love's Sacrifice (1652). These intricate plates demonstrated his imaginative capabilities and his skill in translating complex allegorical themes into visual form, often incorporating the animal motifs that were becoming his hallmark.
His most famous and enduring contribution to book illustration is undoubtedly his work for Aesop's Fables. Several editions featured his designs, most notably the 1666 edition published by John Ogilby with Latin verses, and the 1687 edition with English verses by Aphra Behn. For these, Barlow produced a remarkable series of over 140 etchings (the exact number varies slightly between sources, with some citing 30 full-page and 110 in-text etchings for a particular edition). These illustrations are masterpieces of narrative clarity and animal characterization. Works like The Tortoise and the Hare or The Fox and the Grapes became iconic through his renditions, showcasing his ability to imbue animals with expressive qualities without resorting to overly sentimental anthropomorphism. His animals are keenly observed, their poses and interactions perfectly capturing the essence of Aesop's moral tales. The success of these editions cemented Barlow's reputation as a leading illustrator.
Another notable series of prints was Multae et Diversae Avium Species (Many and Diverse Species of Birds), published in several parts from the 1650s onwards. These etchings, often in a smaller, more intimate format (described as quarter-size in some accounts), showcased his ornithological knowledge and his ability to capture the delicate forms and characteristic postures of various bird species. He also produced Livre de plusieurs Animaux. Inventez par Barlou (Book of Several Animals, Invented by Barlow), a set of etchings published in Paris in 1675, indicating an international reach for his work. This series depicted a range of animals including deer, rabbits, bears, cattle, wolves, elephants, and camels, further demonstrating his versatility.
The technical proficiency of Barlow's etchings can be compared to that of contemporary printmakers like Wenceslaus Hollar (1607-1677), a Bohemian artist who spent much of his career in England and was renowned for his topographical views, portraits, and natural history subjects. However, Barlow's focus on dynamic animal life gave his prints a distinct character.
Sporting Scenes and Patronage
Francis Barlow is celebrated as the first British artist to systematically depict sporting scenes, particularly hunting, hawking, and fishing. These subjects were immensely popular with the landed gentry and aristocracy, whose lifestyles revolved around such country pursuits. Barlow's paintings and prints captured the excitement and traditions of these activities, often set within recognizable English landscapes.
His works in this genre include depictions of stag hunts, otter hunts, and various forms of birding. He was also noted as being among the first, if not the first, British artist to depict horse racing, a sport rapidly gaining popularity in the 17th century. While later artists like John Wootton (c. 1682–1764) and James Seymour (1702–1752) would further develop the equestrian and sporting genre, Barlow laid the essential groundwork.
The nature of Barlow's patronage likely came from this class of country gentlemen who commissioned works to adorn their homes, celebrating their pastimes and their connection to the land. While perhaps not achieving the consistent high-level courtly patronage of a Lely or his successor Sir Godfrey Kneller (1646-1723), Barlow's specialized skills filled a distinct niche. His large-scale decorative paintings, often overmantels or specific room decorations, featuring birds and animals, were sought after for country houses. An example is the series of bird paintings he created for Dodington Park, Gloucestershire.
Artistic Style, Influences, and Techniques
Barlow's artistic style is characterized by its directness, its basis in careful observation, and its lively naturalism. He possessed a strong understanding of animal anatomy, which allowed him to depict creatures in dynamic and convincing poses. His compositions are often complex, featuring multiple figures and detailed landscape settings.
As mentioned, Flemish artists like Frans Snyders and Paul de Vos (c. 1591/2 or 1595 – 1678), known for their large, energetic hunting scenes and still lifes with game, were significant influences, likely absorbed through prints or imported paintings. The Dutch tradition of animal painting, with artists such as Paulus Potter (1625-1654) renowned for his depictions of cattle in landscapes, or Melchior d'Hondecoeter (1636-1695) for his detailed studies of exotic birds, also resonates in Barlow's meticulous approach to rendering fur, feathers, and animal forms.
In his paintings, Barlow often used a rich, somewhat dark palette, which lent drama to his hunting scenes. His drawing style, evident in his preparatory sketches and etchings, was fluid and confident. He reportedly shifted from using brown ink to black ink in his etchings, a technical evolution that may have offered greater contrast and definition. His ability to capture the essence of a scene, whether the ferocity of a hunt or the quiet observation of birds, was remarkable.
While his primary focus was animals, Barlow was also capable of depicting human figures, as seen in his hunting scenes and illustrations. These figures, while perhaps not possessing the refined elegance of specialist portrait painters, are competently rendered and effectively integrated into the overall composition.
Pioneering Political Satire
Beyond his natural history and sporting subjects, Francis Barlow made a unique and pioneering contribution to the field of political satire through his graphic works. During the turbulent period of the "Popish Plot" (1678-1681), a fictitious conspiracy concocted by Titus Oates, Barlow produced a series of playing cards and broadsides illustrating the alleged events and figures involved.
These works, such as A True Narrative of the Horrid Hellish Popish Plot, presented sequential narratives with images and accompanying text, effectively functioning as an early form of comic strip or graphic journalism. This was a novel approach to disseminating political propaganda and commentary to a wide audience. His series of prints on the Rye House Plot further demonstrated his engagement with contemporary political events. In this, he was an innovator, using the power of the printed image for overtly political ends in a narrative format that was accessible and impactful. This aspect of his oeuvre highlights his versatility and his responsiveness to the socio-political currents of his time.
Later Years and Enduring Legacy
Despite his industry and the apparent popularity of his work, Francis Barlow seems to have faced financial difficulties in his later years. This was not uncommon for artists, even successful ones, in an era without the safety nets of modern society or consistent state-sponsored arts funding. He continued to work, producing paintings and designs for prints.
Francis Barlow died in York around 1704 (some sources suggest 1702). It is said that he died in relative poverty, with a sum of money left to him by a friend, the diarist John Evelyn, remaining unclaimed.
Despite any personal hardships, Barlow's artistic legacy was secure. He had established animal and sporting painting as viable and respected genres in British art. His influence on subsequent generations of artists specializing in these fields was profound. Figures like John Wootton, James Seymour, and later, the great George Stubbs (1724-1806), all built upon the foundations Barlow had laid. Stubbs, in particular, with his scientific approach to equine anatomy and his elegant compositions, can be seen as a direct artistic descendant, taking the genre to new heights of sophistication. Sawrey Gilpin (1733-1807) also continued this tradition of animal painting with great skill.
Even artists not solely dedicated to animals, like Jan Griffier I (c. 1652-1718), a Dutch landscape painter active in England, would have been part of the artistic milieu that appreciated and was influenced by Barlow's naturalism. The tradition of detailed bird illustration was continued by artists like Eleazar Albin (fl. 1690 – c. 1742) in the early 18th century.
Critical Reception and Modern Assessment
During his lifetime and in the period immediately following his death, Barlow's work was generally well-regarded, particularly his prints, which circulated widely. However, as artistic tastes evolved, his style was sometimes seen as less polished or sophisticated than that of later sporting artists. Some modern critics have occasionally suggested his work could be imitative or that he did not found a distinct "school" in the sense of having direct pupils who replicated his style precisely.
Such criticisms, however, perhaps miss the mark. Barlow's primary contribution was not necessarily in founding a rigid school but in opening up new subject matter and establishing a distinctly British approach to animal and sporting art. His commitment to observation, his technical skill in both painting and etching, and the sheer breadth of his output are undeniable. He provided a visual language for depicting the British countryside and its pursuits that resonated deeply with his contemporaries and provided a rich seam for future artists to mine.
His pioneering work in political graphic satire also deserves greater recognition as an early example of the power of visual media in shaping public opinion.
Barlow's Works in Collections
Today, Francis Barlow's works are held in numerous prestigious public collections, a testament to his enduring importance. These include:
Tate Britain, London: Holds a significant collection of his paintings and prints, including works like Monkeys and Spaniels Playing and various bird studies.
The British Museum, London: Possesses an extensive collection of his etchings, including plates from Aesop's Fables and his various series on birds and animals.
The National Gallery, London: Also includes examples of his work.
The Royal Academy of Arts, London: Holds prints such as The Tortoise and the Hare.
The Yale Center for British Art, New Haven, Connecticut: Has a strong collection of British sporting art, including works by Barlow.
The Fitzwilliam Museum, Cambridge.
The Ashmolean Museum, Oxford (referenced as Oxford University Museum in some sources): Likely holds examples of his bird paintings or prints.
Many of his large decorative paintings can still be found in the country houses for which they were originally commissioned, or in regional British galleries.
Conclusion
Francis Barlow was more than just a painter of animals; he was a keen observer of the natural world, a skilled craftsman in multiple media, and an innovator who significantly broadened the scope of British art. His dedication to subjects previously considered minor, his pioneering role in sporting art and political satire, and his prolific output of illustrations ensured his influence was widespread and lasting. While he may have died in modest circumstances, his artistic contributions provided a rich foundation upon which much of Britain's celebrated tradition of animal and sporting art was built, securing his place as a key figure in the landscape of 17th-century British culture. His work continues to charm and inform, offering a vivid window into the rural life, pastimes, and even the political anxieties of his era.
