John Martin Oil Painting Reproductions

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John Martin
The Bard
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) cyf

John Martin Pandemonium - One out of a set of mezzotints with the same title oil

John Martin
Pandemonium - One out of a set of mezzotints with the same title
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

John Martin
Macbeth
Painting ID:: 75142
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Macbeth
"Macbeth" (circa 1820). National Gallery of Scotland, Edinburgh. cyf

John Martin Portrait of Catherine Parr oil

John Martin
Portrait of Catherine Parr
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) cyf

John Martin
The Eve of the Deluge
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

John Martin Sadak in Search of the Waters of Oblivion oil

John Martin
Sadak in Search of the Waters of Oblivion
Painting ID:: 92953
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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.
Painting ID:: 94518
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Belshazzar's Feast.
1820(1820) cjr

John Martin
Manfred on the Jungfrau
Painting ID:: 94977
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Manfred on the Jungfrau
1837 Type Watercolour cyf

John Martin The Stables Viewed from the Chateau at Versailles oil

John Martin
The Stables Viewed from the Chateau at Versailles
Painting ID:: 96090
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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
Painting ID:: 96091
new26/John Martin-995836.jpg

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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