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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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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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John Martin
The Great Day of His Wrath
c1853
Tate Gallery, London
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John Martin
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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John Martin
The Bard (mk10)
1817,Oil on canvas,
215 x 157 cm
Newcastle-upon-Tyne,The Laing Art Gallery
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John Martin
Pandemonium (mk22)
1841
Oil on canvas,123.2 x 184.1 cm
New York,FORBES Magazine Collection
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John Martin
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
The Eve of the Deluge (mk25)
1840
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John Martin
Manfred and the Witch of the Alps (mk47)
SBA 1838
Watercolour and bodycolour
388x558mm
Whitworth Art Gallery
University of Manchester
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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)
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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)
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John Martin
The Great Day of His Wrath
mk156
1851
Oil on canvas
196x303cm
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John Martin
Manfred and the Alpine Witch
1837
Watercolour,
388 x 558 mm
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John Martin
The Bard
c. 1817
Oil on canvas,
127 x 102 cm
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John Martin
The Eve of the Deluge
1840
Oil on canvas,
143 x 218 cm
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John Martin
The Evening of the Deluge
1828 Mezzotint and engraving, 597 x 817 mm
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John Martin
The Great Day of His Wrath
The Great Day of His Wrath, c. 1853.
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John Martin
The Destruction of Sodom and Gomorrah,
The Destruction of Sodom and Gomorrah, 1852.
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John Martin
The Eve of the Deluge
1840 Oil on canvas, 143 x 218 cm Royal Collection, Windsor John Martin had humble beginnings in Newcastle-upon-Tyne as a herald painter to a coach-builder, and then in London as a painter on china and glass, but he later achieved a great success with his highly imaginative paintings of scenes from a variety of literary sources, particularly the Old Testament. Many of these pictures were executed on a vast scale and were frequently visionary in conception. The impact of Martin's paintings was also enhanced by his use of vivid contrasts in colour, which served to emphasise the grandeur and other-worldliness of his compositions, and the varying thickness of the paint surface. Apart from his paintings Martin was also a prolific illustrator and engraver, as well as a practising urban engineer. It was while Prince Albert was visiting Martin's studio that he saw one of the artist's major works, The Deluge (the second version of 1834, present whereabouts unknown), and suggested that the artist paint the related themes - The Eve of the Deluge and The Assuaging of the Waters - in order to make a series. It would seem, however, that the artist himself had already developed the idea for such a sequence. The subject of The Eve of the Deluge is ultimately based on Genesis 6:5-8, in which God despairs of man's wickedness on earth and decides to destroy him with the single exception of Noah. The figures on the promontory in the foreground are the patriarchs. The seated figure with a white beard is Methuselah, who is surrounded by the family of Noah. Methuselah instructs Noah to open the scroll written by his father, Enoch, so that he can compare the signs in the sky (sun, moon and comet) with those on the scroll. The fact that they match ordains the end of the world and this results in Methuselah's death. The figures hurrying up the slope include those described in the Bible as 'giants in the earth in those days'. In the middle distance, under the trees on the right, is a group of revellers representing the antediluvian age. Their behaviour has no doubt undermined God's confidence in man. Ravens, a symbol of ill omen, circle overhead. The ark, which Noah was instructed to build in order to save himself, his family and the animals, is visible on a distant promontory in the background on the right. Both The Eve of the Deluge and The Assuaging of the Waters were exhibited at the Royal Academy in 1840, and The Eve of the Deluge was acquired by Prince Albert the following year. The Assuaging of the Waters is now in San Francisco Museum of Fine Arts. Martin published his own account of these three paintings in a pamphlet entitled The Deluge of 1840. This shows that his sources were fairly recondite, extending beyond the historical and the religious to the cosmological and the eschatological, including Byron's Heaven and Earth. 'Altogether the three paintings amount to a history of the world, summarized in the terms of documentary mythology and dioramic episodes, compressed into three scenes - evening,
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John Martin
Der grobe Tag des gottlichen Zorns
c. 1853
Oil on canvas
196,5 ?? 303 cm
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John Martin
The Deluge
1834
Oil on canvas
66 x 102 inches
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John Martin
The Last Judgement
1853
Oil on canvas
1968 x 3258 mm
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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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