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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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The Great Day of His Wrath
c1853
Tate Gallery, London
Painting ID:: 2884
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The_Great_Day_of_His_Wrath
c1853
Tate Gallery, London
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Joshua Ordering the Sun to Stop in its Course (mk10)
1816 Oil on canvas
149.8 x 231.1 cm
London,United Grand Lodge of Great Britain
Painting ID:: 21761
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Joshua_Ordering_the_Sun_to_Stop_in_its_Course_(mk10)
1816 Oil on canvas
149.8 x 231.1 cm
London,United Grand Lodge of Great Britain
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The Bard (mk10)
1817,Oil on canvas,
215 x 157 cm
Newcastle-upon-Tyne,The Laing Art Gallery
Painting ID:: 21766
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The_Bard_(mk10)
1817,Oil on canvas,
215 x 157 cm
Newcastle-upon-Tyne,The Laing Art Gallery
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Pandemonium (mk22)
1841
Oil on canvas,123.2 x 184.1 cm
New York,FORBES Magazine Collection
Painting ID:: 22806
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Pandemonium_(mk22)
1841
Oil on canvas,123.2 x 184.1 cm
New York,FORBES Magazine Collection
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The Great Day of His Wirath (nn03)
c 1853
Oil on canvas 196 x 303 cm 77 3/8 119 3/8 in Tate Gallery London
Painting ID:: 23371
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The_Great_Day_of_His_Wirath_(nn03)
c 1853
Oil on canvas 196 x 303 cm 77 3/8 119 3/8 in Tate Gallery London
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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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