Following work for Samuel Madden and the Earl of Milltown, Barret started to produce paintings of Irish landscapes.
These portrayed the actual landscape and not cappricio scenery.
This was a natural progression from his previous idealised Italianate scenery.
Barret is particularly associated with  Edward Wingfield who in 1751 became Viscount Powerscourt.
Wingfield owned Powerscourt House and extensive estates to the south of Dublin in County Wicklow.
These included the scenic river Dargle with its craggy red rocks and impressive Powerscourt Waterfall that is the second highest in Ireland.
Scenery on the Dargle often figures in Barret’s surviving oil paintings and he also painted at Avoca in the south of  County Wicklow.

A View of Powerscourt House under the Sugar Loaf Mountain  is now at the Yale Center for British Art,  and a version of Barret’s Powerscourt Waterfall  is in the National Gallery of Ireland.

Barret is very likely to have been introduced to the Marquess of Rockingham by Edmund Burke, who had become his private secretary.
The Marquess’ s Irish seat was at Coolatin, Co. Wicklow.
 Barret was employed to draw the remains of Killtimon Castle, Co. Wicklow, and a copy after his drawing survives in the Royal Irish Academy  An oil painting by Barret, with a wooded mountainous river landscape with anglers by a waterfall in the foreground and a ruined tower house in the distance, which relates to these views, was sold in 2003.

A further Irish patron of Barret was the Thomas Conolly of Castletown House of Celbridge to the west of Dublin.
He inherited Castletown House in 1758 and his wife Lady Louisa Conolly (who was the daughter of Charles Lennox, 2nd Duke of Richmond), set about redecoration and refurbishment of this Palladian mansion.
Barret supplied a painting of the house in the distance with wooded parkland and a river.
The trees are depicted in outline and not in Barret’s later spindly way.
 John Harris remarks that it is softly and atmospherically painted, and of course, is free from the influence of Wilson and other London based painters.

As he could not find adequate employment in Ireland, Barret moved to London in 1762.
Following work for Samuel Madden and the Earl of Milltown, Barret started to produce paintings of Irish landscapes. These portrayed the actual landscape and not cappricio scenery. This was a natural progression from his previous idealised Italianate scenery. Barret is particularly associated with  Edward Wingfield who in 1751 became Viscount Powerscourt. Wingfield owned Powerscourt House and extensive estates to the south of Dublin in County Wicklow. These included the scenic river Dargle with its craggy red rocks and impressive Powerscourt Waterfall that is the second highest in Ireland. Scenery on the Dargle often figures in Barret’s surviving oil paintings and he also painted at Avoca in the south of  County Wicklow.
A View of Powerscourt House under the Sugar Loaf Mountain  is now at the Yale Center for British Art,  and a version of Barret’s Powerscourt Waterfall  is in the National Gallery of Ireland.
Barret is very likely to have been introduced to the Marquess of Rockingham by Edmund Burke, who had become his private secretary. The Marquess’ s Irish seat was at Coolatin, Co. Wicklow.  Barret was employed to draw the remains of Killtimon Castle, Co. Wicklow, and a copy after his drawing survives in the Royal Irish Academy  An oil painting by Barret, with a wooded mountainous river landscape with anglers by a waterfall in the foreground and a ruined tower house in the distance, which relates to these views, was sold in 2003.
A further Irish patron of Barret was the Thomas Conolly of Castletown House of Celbridge to the west of Dublin. He inherited Castletown House in 1758 and his wife Lady Louisa Conolly (who was the daughter of Charles Lennox, 2nd Duke of Richmond), set about redecoration and refurbishment of this Palladian mansion. Barret supplied a painting of the house in the distance with wooded parkland and a river. The trees are depicted in outline and not in Barret’s later spindly way.  John Harris remarks that it is softly and atmospherically painted, and of course, is free from the influence of Wilson and other London based painters.
As he could not find adequate employment in Ireland, Barret moved to London in 1762.
George Barret Sr.