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John Martin
The Last Man
1849
Oil on canvas
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John Martin
The Seventh Plague
Oil on canvas
144.1 x 214 cm
1823
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John Martin
The Last Judgement
1853
Oil on canvas
1968 x 3258 mm
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John Martin
the great day of his wrath
1851-3 oil on canvas 196.5x303.2cm
se
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John Martin
The Last Man
Medium Oil on canvas
Dimensions
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John Martin
The Last Judgement
Medium Oil on canvas
Dimensions 1968 x 3258 mm
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John Martin
The Plains of Heaven
Medium Oil on canvas
Dimensions 1988 x 3067 mm
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John Martin
Seventh Plague
Medium Oil on canvas
Dimensions 144.1 x 214 cm
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John Martin
The Bard
ca. 1817
Oil on canvas
127 X 102 cm (50 X 40.16 in)
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John Martin
Macbeth
Macbeth" (circa 1820). National Gallery of Scotland, Edinburgh.
cjr
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John Martin
The Bard
Date ca. 1817
Medium Oil on canvas
Dimensions 127 X 102 cm (50 X 40.16 in)
cyf
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John Martin
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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John Martin
Macbeth
"Macbeth" (circa 1820). National Gallery of Scotland, Edinburgh.
cyf
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John Martin
Portrait of Catherine Parr
ca. 1545(1545)
Medium Oil on panel
Dimensions 180.3 ?? 94 cm (71 ?? 37 in)
cyf
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John Martin
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
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
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John Martin
Belshazzar's Feast.
1820(1820)
cjr
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John Martin
Manfred on the Jungfrau
1837
Type Watercolour
cyf
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John Martin
The Stables Viewed from the Chateau at Versailles
between 1688(1688) and 1690(1690)
Medium oil on canvas
cyf
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John Martin
View of the Orangerie
between 1688(1688) and 1690(1690)
Medium oil on canvas
cyf
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| John Martin
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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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