John Martin
British 1789-1854 John Martin Gallery His first exhibited subject picture, Sadak in Search of the Waters of Oblivion (now in the St. Louis Art Museum), was hung in the Ante-room of the Royal Academy in 1812, and sold for fifty guineas. It was followed by the Expulsion (1813), Paradise (1813), Clytie (1814), and Joshua Commanding the Sun to Stand Still upon Gibeon (1816). In 1821 appeared his Belshazzar's Feast, which excited much favorable and hostile comment, and was awarded a prize of £200 at the British Institution, where the Joshua had previously carried off a premium of £100. Then came the Destruction of Herculaneum (1822), the Creation (1824), the Eve of the Deluge (1841), and a series of other Biblical and imaginative subjects. The Plains of Heaven is thought to reflect his memories of the Allendale of his youth. Martin's large paintings were inspired by "contemporary dioramas or panoramas, popular entertainments in which large painted cloths were displayed, and animated by the skilful use of artificial light. Martin has often been claimed as a forerunner of the epic cinema, and there is no doubt that the pioneer director D. W. Griffith was aware of his work." In turn, the diorama makers borrowed Martin's work, to the point of plagiarism. A 2000-square-foot version of Belshazzar's Feast was mounted at a facility called the British Diorama in 1833; Martin tried, but failed, to shut down the display with a court order. Another diorama of the same picture was staged in New York City in 1835. These dioramas were tremendous successes with their audiences, but wounded Martin's reputation in the serious art world.
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John Martin The Eve of the Deluge (mk25) oil painting


The Eve of the Deluge (mk25)
1840
Painting ID::  24171 		John Martin
The Eve of the Deluge (mk25)
1840
   
   
     
John Martin Manfred and the Witch of the Alps (mk47) oil painting


Manfred and the Witch of the Alps (mk47)
SBA 1838 Watercolour and bodycolour 388x558mm Whitworth Art Gallery University of Manchester
Painting ID::  26148 		John Martin
Manfred and the Witch of the Alps (mk47)
SBA 1838 Watercolour and bodycolour 388x558mm Whitworth Art Gallery University of Manchester
   
   
     
John Martin The Assuaging of the Waters oil painting


The Assuaging of the Waters
1834-40 Oil on canvas 143.5 x 218 cm (56 1/2 x 86 1/4 in)Fine Arts Museum San Francisco (mk63)
Painting ID::  28219 		John Martin
The Assuaging of the Waters
1834-40 Oil on canvas 143.5 x 218 cm (56 1/2 x 86 1/4 in)Fine Arts Museum San Francisco (mk63)
   
   
     
John Martin Belshazzar's Feast oil painting


Belshazzar's Feast
1820 oil on canvas 95.3 x 120.6 cm (37 1/2 x 47 1/2 in) Yale Center for British Art Paul Mellon Collection New Haven CT.(mk63)
Painting ID::  28220 		John Martin
Belshazzar's Feast
1820 oil on canvas 95.3 x 120.6 cm (37 1/2 x 47 1/2 in) Yale Center for British Art Paul Mellon Collection New Haven CT.(mk63)
   
   
     
John Martin The Great Day of His Wrath oil painting


The Great Day of His Wrath
mk156 1851 Oil on canvas 196x303cm
Painting ID::  40703 		John Martin
The Great Day of His Wrath
mk156 1851 Oil on canvas 196x303cm
   
   
     
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     John Martin
     British 1789-1854 John Martin Gallery His first exhibited subject picture, Sadak in Search of the Waters of Oblivion (now in the St. Louis Art Museum), was hung in the Ante-room of the Royal Academy in 1812, and sold for fifty guineas. It was followed by the Expulsion (1813), Paradise (1813), Clytie (1814), and Joshua Commanding the Sun to Stand Still upon Gibeon (1816). In 1821 appeared his Belshazzar's Feast, which excited much favorable and hostile comment, and was awarded a prize of £200 at the British Institution, where the Joshua had previously carried off a premium of £100. Then came the Destruction of Herculaneum (1822), the Creation (1824), the Eve of the Deluge (1841), and a series of other Biblical and imaginative subjects. The Plains of Heaven is thought to reflect his memories of the Allendale of his youth. Martin's large paintings were inspired by "contemporary dioramas or panoramas, popular entertainments in which large painted cloths were displayed, and animated by the skilful use of artificial light. Martin has often been claimed as a forerunner of the epic cinema, and there is no doubt that the pioneer director D. W. Griffith was aware of his work." In turn, the diorama makers borrowed Martin's work, to the point of plagiarism. A 2000-square-foot version of Belshazzar's Feast was mounted at a facility called the British Diorama in 1833; Martin tried, but failed, to shut down the display with a court order. Another diorama of the same picture was staged in New York City in 1835. These dioramas were tremendous successes with their audiences, but wounded Martin's reputation in the serious art world.

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