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John Martin Oil Painting Reproductions
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John Martin The Great Day of His Wrath oil


John Martin
The Great Day of His Wrath
Painting ID::  2884
John Martin1.jpg 		The Great Day of His Wrath
c1853 Tate Gallery, London
   
   
     
John Martin Joshua Ordering the Sun to Stop in its Course (mk10) oil


John Martin
Joshua Ordering the Sun to Stop in its Course (mk10)
Painting ID::  21761
new6/John Martin-759592.jpg 		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
   
   
     
John Martin The Bard (mk10) oil


John Martin
The Bard (mk10)
Painting ID::  21766
new6/John Martin-328693.jpg 		The Bard (mk10)
1817,Oil on canvas, 215 x 157 cm Newcastle-upon-Tyne,The Laing Art Gallery
   
   
     
John Martin Pandemonium (mk22) oil


John Martin
Pandemonium (mk22)
Painting ID::  22806
new7/John Martin-579696.jpg 		Pandemonium (mk22)
1841 Oil on canvas,123.2 x 184.1 cm New York,FORBES Magazine Collection
   
   
     
John Martin The Great Day of His Wirath (nn03) oil


John Martin
The Great Day of His Wirath (nn03)
Painting ID::  23371
new8/John Martin-677733.jpg 		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
   
   
     
John Martin The Eve of the Deluge (mk25) oil


John Martin
The Eve of the Deluge (mk25)
Painting ID::  24171
new8/John Martin-627464.jpg 		The Eve of the Deluge (mk25)
1840
   
   
     
John Martin Manfred and the Witch of the Alps (mk47) oil


John Martin
Manfred and the Witch of the Alps (mk47)
Painting ID::  26148
new2/John Martin-667835.jpg 		Manfred and the Witch of the Alps (mk47)
SBA 1838 Watercolour and bodycolour 388x558mm Whitworth Art Gallery University of Manchester
   
   
     
John Martin The Assuaging of the Waters oil


John Martin
The Assuaging of the Waters
Painting ID::  28219
new3/John Martin-676695.jpg 		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)
   
   
     
John Martin Belshazzar's Feast oil


John Martin
Belshazzar's Feast
Painting ID::  28220
new3/John Martin-846564.jpg 		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)
   
   
     
John Martin The Great Day of His Wrath oil


John Martin
The Great Day of His Wrath
Painting ID::  40703
new16/John Martin-545272.jpg 		The Great Day of His Wrath
mk156 1851 Oil on canvas 196x303cm
   
   
     
John Martin Manfred and the Alpine Witch oil


John Martin
Manfred and the Alpine Witch
Painting ID::  43938
new16/John Martin-377428.jpg 		Manfred and the Alpine Witch
1837 Watercolour, 388 x 558 mm
   
   
     
John Martin The Bard oil


John Martin
The Bard
Painting ID::  44039
new16/John Martin-698757.jpg 		The Bard
c. 1817 Oil on canvas, 127 x 102 cm
   
   
     
John Martin The Eve of the Deluge oil


John Martin
The Eve of the Deluge
Painting ID::  44045
new16/John Martin-572942.jpg 		The Eve of the Deluge
1840 Oil on canvas, 143 x 218 cm
   
   
     
John Martin The Evening of the Deluge oil


John Martin
The Evening of the Deluge
Painting ID::  52540
new19/John Martin-549399.jpg 		The Evening of the Deluge
1828 Mezzotint and engraving, 597 x 817 mm
   
   
     
John Martin The Great Day of His Wrath oil


John Martin
The Great Day of His Wrath
Painting ID::  59758
new21/John Martin-736944.jpg 		The Great Day of His Wrath
The Great Day of His Wrath, c. 1853.
   
   
     
John Martin The Destruction of Sodom and Gomorrah, oil


John Martin
The Destruction of Sodom and Gomorrah,
Painting ID::  59759
new21/John Martin-366298.jpg 		The Destruction of Sodom and Gomorrah,
The Destruction of Sodom and Gomorrah, 1852.
   
   
     
John Martin The Eve of the Deluge oil


John Martin
The Eve of the Deluge
Painting ID::  62815
new21/John Martin-543657.jpg 		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,
   
   
     
John Martin Der grobe Tag des gottlichen Zorns oil


John Martin
Der grobe Tag des gottlichen Zorns
Painting ID::  66582
new22/John Martin-663437.jpg 		Der grobe Tag des gottlichen Zorns
c. 1853 Oil on canvas 196,5 ?? 303 cm
   
   
     
John Martin The Deluge oil


John Martin
The Deluge
Painting ID::  67008
new22/John Martin-943568.jpg 		The Deluge
1834 Oil on canvas 66 x 102 inches
   
   
     
John Martin The Last Judgement oil


John Martin
The Last Judgement
Painting ID::  67009
new22/John Martin-787444.jpg 		The Last Judgement
1853 Oil on canvas 1968 x 3258 mm
   
   
     
John Martin The Last Man oil


John Martin
The Last Man
Painting ID::  67010
new22/John Martin-666269.jpg 		The Last Man
1849 Oil on canvas
   
   
     
John Martin The Seventh Plague oil


John Martin
The Seventh Plague
Painting ID::  67011
new22/John Martin-985938.jpg 		The Seventh Plague
Oil on canvas 144.1 x 214 cm 1823
   
   
     
John Martin The Last Judgement oil


John Martin
The Last Judgement
Painting ID::  67767
new23/John Martin-568544.jpg 		The Last Judgement
1853 Oil on canvas 1968 x 3258 mm
   
   
     
John Martin the great day of his wrath oil


John Martin
the great day of his wrath
Painting ID::  68860
new23/John Martin-534874.jpg 		the great day of his wrath
1851-3 oil on canvas 196.5x303.2cm se
   
   
     
John Martin The Last Man oil


John Martin
The Last Man
Painting ID::  70231
new23/John Martin-483693.jpg 		The Last Man
Medium Oil on canvas Dimensions
   
   
     
John Martin The Last Judgement oil


John Martin
The Last Judgement
Painting ID::  70248
new23/John Martin-535457.jpg 		The Last Judgement
Medium Oil on canvas Dimensions 1968 x 3258 mm
   
   
     
John Martin The Plains of Heaven oil


John Martin
The Plains of Heaven
Painting ID::  70536
new23/John Martin-473437.jpg 		The Plains of Heaven
Medium Oil on canvas Dimensions 1988 x 3067 mm
   
   
     
John Martin Seventh Plague oil


John Martin
Seventh Plague
Painting ID::  70859
new23/John Martin-839384.jpg 		Seventh Plague
Medium Oil on canvas Dimensions 144.1 x 214 cm
   
   
     
John Martin The Bard oil


John Martin
The Bard
Painting ID::  72021
new23/John Martin-359453.jpg 		The Bard
ca. 1817 Oil on canvas 127 X 102 cm (50 X 40.16 in)
   
   
     
John Martin Macbeth oil


John Martin
Macbeth
Painting ID::  73451
new24/John Martin-687888.jpg 		Macbeth
Macbeth" (circa 1820). National Gallery of Scotland, Edinburgh. 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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