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.

Although the thirteen colonies that would constitute the United States of America were founded by several different nations, by 1763 (the end of the French and Indian Wars), the British controlled most of North America from the Atlantic Ocean to the Mississippi River. In many respects the American colonies functioned like an English province. Culturally they were largely British; from interior design and dress to painted portraits, wealthy colonists emulated the London fashions of the period. However, there was often a time lag, as examples of the finest British furniture, household goods, and decorative items such as paintings had to be transported across the ocean.

At first the only trained artists and artisans in the colonies were emigrants from London who thought fame would be easier to achieve in the less competitive atmosphere of Boston or Philadelphia. By the end of the eighteenth century, this traffic had reversed somewhat, as American artists went to London for their training. Portraits were the most popular genre, since British citizens everywhere wanted visual records of their families and heroes. Historical and literary subjects, such as those by Benjamin West, were usually only painted in London; their appreciation required a more educated audience than was the case with many colonists. The pervasive influence of Britain would continue to affect the development of culture in the United States long after the Revolutionary War had severed the Crown’s political authority.

• About the Era. LACMA collections online. Retrieved on 12/30/2009 from http://collectionsonline.lacma.org/mweb/aa/abouttheera/early_american_paintings_abouttheera.asp
• Donahue, Kenneth.  X, a Decade of Collecting:  1965-1975.  Los Angeles:  Los Angeles County Museum of Art, 1975.
• Donahue, Kenneth. Los Angeles County Museum of Art Handbook. Los Angeles: Los Angeles County Museum of Art, 1977.
• Fort, Ilene Susan and Michael Quick.  American Art:  a Catalogue of the Los Angeles County Museum of Art Collection.  Los Angeles:  Los Angeles County Museum of Art, 1991.