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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 Bard
Date ca. 1817
Medium Oil on canvas
Dimensions 127 X 102 cm (50 X 40.16 in)
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Painting ID:: 73517
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The_Bard
Date ca. 1817
Medium Oil on canvas
Dimensions 127 X 102 cm (50 X 40.16 in)
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Pandemonium - One out of a set of mezzotints with the same title
Pandemonium - One out of a set of mezzotints with the same title
Between 1823 and 1827
Painting ID:: 74134
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Pandemonium_-_One_out_of_a_set_of_mezzotints_with_the_same_title
Pandemonium - One out of a set of mezzotints with the same title
Between 1823 and 1827
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Macbeth
"Macbeth" (circa 1820). National Gallery of Scotland, Edinburgh.
cyf
Painting ID:: 75142
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Macbeth
"Macbeth" (circa 1820). National Gallery of Scotland, Edinburgh.
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Portrait of Catherine Parr
ca. 1545(1545)
Medium Oil on panel
Dimensions 180.3 ?? 94 cm (71 ?? 37 in)
cyf
Painting ID:: 77598
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Portrait_of_Catherine_Parr
ca. 1545(1545)
Medium Oil on panel
Dimensions 180.3 ?? 94 cm (71 ?? 37 in)
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The Eve of the Deluge
1840(1840)
Oil on canvas
Width: 218 cm (85.8 in). Height: 143 cm (56.3 in).
cjr
Painting ID:: 79028
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The_Eve_of_the_Deluge
1840(1840)
Oil on canvas
Width: 218 cm (85.8 in). Height: 143 cm (56.3 in).
cjr
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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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