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 Manfred and the Alpine Witch oil painting


Manfred and the Alpine Witch
1837 Watercolour, 388 x 558 mm
Painting ID::  43938 		John Martin
Manfred and the Alpine Witch
1837 Watercolour, 388 x 558 mm
   
   
     
John Martin The Bard oil painting


The Bard
c. 1817 Oil on canvas, 127 x 102 cm
Painting ID::  44039 		John Martin
The Bard
c. 1817 Oil on canvas, 127 x 102 cm
   
   
     
John Martin The Eve of the Deluge oil painting


The Eve of the Deluge
1840 Oil on canvas, 143 x 218 cm
Painting ID::  44045 		John Martin
The Eve of the Deluge
1840 Oil on canvas, 143 x 218 cm
   
   
     
John Martin The Evening of the Deluge oil painting


The Evening of the Deluge
1828 Mezzotint and engraving, 597 x 817 mm
Painting ID::  52540 		John Martin
The Evening of the Deluge
1828 Mezzotint and engraving, 597 x 817 mm
   
   
     
John Martin The Great Day of His Wrath oil painting


The Great Day of His Wrath
The Great Day of His Wrath, c. 1853.
Painting ID::  59758 		John Martin
The Great Day of His Wrath
The Great Day of His Wrath, c. 1853.
   
   
     
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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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