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 Sadak in Search of the Waters of Oblivion oil


Sadak in Search of the Waters of Oblivion
Painting ID::  92953
Sadak in Search of the Waters of Oblivion
1812(1812) Medium oil on canvas Dimensions 72 1/8 x 51 5/8 in. (183.2 x 131.1 cm) cjr
   
   
     

John Martin Belshazzar's Feast. oil


Belshazzar's Feast.
Painting ID::  94518
Belshazzar's Feast.
1820(1820) cjr
1820(1820) cjr
   
   
     

John Martin Manfred on the Jungfrau oil


Manfred on the Jungfrau
Painting ID::  94977
Manfred on the Jungfrau
1837 Type Watercolour cyf
1837_ Type_Watercolour_ cyf
   
   
     

John Martin The Stables Viewed from the Chateau at Versailles oil


The Stables Viewed from the Chateau at Versailles
Painting ID::  96090
The Stables Viewed from the Chateau at Versailles
between 1688(1688) and 1690(1690) Medium oil on canvas cyf
   
   
     

John Martin View of the Orangerie oil


View of the Orangerie
Painting ID::  96091
View of the Orangerie
between 1688(1688) and 1690(1690) Medium oil on canvas cyf
   
   
     

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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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