Uuendatud oktoober 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 88 teost John Martin meie kataloogis
Lühidalt
Kõigist John Martin jäetud originaalteostest on kõige kuulsam The Great Day of His Wrath (1851), mis kuulub Tate Britain kogele linnas London. Järgnevad sellest The Destruction of Sodom And Gomorrah (1852) ja The Evening of the Deluge (1828). Meie kataloogist löytyb 88 teost kunstnikult John Martin; galeriist on säilitatud 87 maailmas kõige imetlustunud teost, millest iga on esitatud koos kuupäeva, museumi ja oma luguga.
In the heart of the nineteenth century, few images could stir the Victorian soul with as much terror and awe as John Martin’s The Great Day of His Wrath. This monumental oil on canvas is not merely a painting; it is a visceral experience of the sublime. As the eye wanders across the vast, turbulent landscape, one is immediately struck by the sheer scale of destruction. The scene captures the…
The heavens do not merely darken; they fracture. A massive, swirling vortex of fiery clouds dominates the upper reaches of the canvas, a celestial furnace that seems to swallow the very air. Light does not fall from above in a gentle glow but erupts from the center of a cosmic explosion. It is a violent, directional radiance that carves the landscape into jagged silhouettes of deep black and shadowy blue.…
To stand before John Martin's monumental vision, The Evening of the Deluge, is not merely to observe a painting; it is to be submerged within an epochal moment of divine wrath and human fragility. Created in 1828, this work transcends simple depiction, becoming instead a profound meditation on humanity’s place against the overwhelming power of nature. Martin, a master chronicler of the sublime, utilized his immense scale—a staggering 597 x…
John Martin (1789-1854) stands as a titan of Romantic painting, an artist who wrestled with the sublime and channeled its anxieties onto canvas in ways that continue to resonate today. His monumental print, ‘Eve,’ exemplifies this preoccupation—a chilling depiction of temptation and divine retribution rendered with meticulous detail and imbued with palpable emotion.
The canvas bears the title Great Day of His Wrath. It is a work by the English romantic painter John Martin. Created in 1851, the painting captures a moment of profound upheaval. It exists as a single movement within a larger triptych of judgement pictures. This series draws its heavy inspiration from the Book of Revelation.
John Martin's "Destruction of Tyre," completed in 1840, is not merely a depiction of a historical event; it is a visceral embodiment of Romanticism’s fascination with the sublime – that overwhelming feeling of awe and terror inspired by nature’s power. Measuring an imposing 95 x 838 cm, this oil on canvas transports the viewer directly into the heart of apocalyptic chaos. The scene, based on the biblical account in 2…
The scene unfolds through the vision of Satan in Council, a dramatic work by the English romantic painter John Martin. This composition captures a moment of intense celestial and infernal tension, pulling the viewer into a realm of shadow and light. The work is also recognized by the title Satan presiding at the Infernal Council, a name that speaks to the heavy authority commanding the assembly. It exists as a…
The Sublime Terror of the Infernal Capital In the annals of Romanticism, few images command the eye with such overwhelming dread and grandeur as John Martin’s Pandemonium. Painted in 1841, this oil on canvas is not merely a depiction of a scene; it is an immersive descent into the heart of cosmic chaos. The viewer is immediately confronted by the sheer, terrifying scale of Hell’s capital, where the architecture of…
The heavens fracture as the destruction of Babylon unfolds in this dramatic vision by John Martin. The scene captures a terrifying Old Testament biblical narrative, where the once-mighty city faces its ultimate end. Chaos reigns as the landscape is swallowed by upheaval, reflecting a moment of divine judgment that feels immediate and overwhelming. The scale of the catastrophe looms large, turning the sprawling cityscape into a site of profound human…
The scene unfolds within a vast, architectural interior where a long dining table occupies the central space. Around this table, fourteen figures are positioned in various states of repose and movement. Some individuals sit in chairs, while others kneel or stand near the edges of the gathering. The table is laden with food and drink, set against a backdrop of grand, structural elements. Above the assembly, a clock hangs upon…
The Plains of Heaven
12
The Great Day of His Wrath
13
Satan Arousing the Fallen Angels, Book 1, line 314, from John Milton, Paradise Lost1824
14
The Last Man1849 · Walker Art Gallery
15
Landscape with a Castle1815 · Yale Center for British Art
16
Plate fromTate Britain
17
Ancestor Worship1964 · Kanada Rahvusgalerii
18
Moonlight - Chepstow Castle1815 · Art Gallery of South Australia
19
Sadak in Search of the Waters of OblivionMuseum of Fine Arts
20
Kensington Garden1815 · Yale Center for British Art
21
Kensington Garden1815 · Yale Center for British Art
22
Kensington Gardens1815 · Yale Center for British Art
23
Landscape, Possibly the Isle of Wight or Richmond Hill1815 · Yale Center for British Art
24
Hyde Park1815 · Yale Center for British Art
25
The Court of God: Paradise Lost (Book 3, Line 365)1824 · Kanada Rahvusgalerii
26
Diogenes Throwing Away His Cup1833
27
Alpheus and Arethusa1832
28
The Deluge1834
29
Joshua Commanding the Sun to Stand Still1840 · Yale Center for British Art
30
The Assuaging of the Waters1840 · Fine Arts Museums of San Francisco
31
Twilight in the woodlands1850 · Fitzwilliam Museum
32
Landscape: View in Richmond Park1850 · Fitzwilliam Museum
33
The Last Judgement (study)1851 · Yale Center for British Art
34
Christ Stilleth the Tempest1852 · York Art Gallery
35
F shaw brothers tannery maineBavaria riiklikud maalidema kogumikud
36
Paradise Lost. Adam and Eve Driven out of Paradise
37
Seventh Plague
38
Gleaners in the Wheat Field
39
The Last JudgementTate Britain
40
The Isle of Man
41
The Destruction of Sodom and Gomorrah
42
The Valley of the Tyne, My Native Country, near Henshaw
43
Destruction of Pharaoh's Host
44
The Covenant
45
Figures Seated by a Lake in a Wooded Landscape
46
Psalm CXXVII (by the Waters of Babylon)
47
Moses Breaketh the Tables
48
A Man Playing a Harp with other Figures beside a Lake
49
Ruins of an Ancient CityCleveland Museum of Art
50
Joshua Commanding the Sun to Stand Still upon Gibeon
51
Landscape with a Ruined Castle
52
Edwin and Angelina (also known as The Hermit)
53
The Plains of Heaven1851 · Tate Britain
54
Repentance of Nineveh1840 · Yale University Art Gallery
55
Pandemonium - John Martin2026
56
Iguanodoni maa1837 · Te Papa
57
Plate fromTate Britain
58
Plate fromTate Britain
59
Fall of the Rebel AngelsHarvard Art Museums
60
Paradise Lost. The Creation of Light
61
Flood at night
62
David Spareth Saul at Hachilah
63
Fall of the Walls of Jericho
64
Fantastic Oriental Landscape
65
Fall of the Rebel Angels
66
Christ's glorious coming
67
The Assuaging of the Waters
68
Creation of Light
69
View on the River Wye, Looking towards Chepstow
70
Joshua commanding the Sun to stand still
71
Eve's Dream - Satan aroused
72
The Fallen Angels Entering Pandemonium, from Paradise LostTate Britain
73
View of Dolbadern Castle, North Wales
74
A Country Graveyard, Possibly Bunhill Fields, Finsbury, A Wooded Landscape Beyond
75
Belshazzar1820 · Yale Center for British Art
76
Manfred and the Alpine Witch1837 · Whitworth Art Gallery
77
Sadak in Search of the Waters of Oblivion1812 · Saint Louis Art Museum
78
Seventh Plague of EgyptMuseum of Fine Arts
79
The Destruction of Pompeii and Herculaneum1822
80
Joshua Commanding the Sun to Stand Still upon Gibeon1816 · National Gallery of Art
81
The Eve of the Deluge1840 · Royal Collection
82
Manfred on the Jungfrau1837 · Birmingham Museum and Art Gallery
83
The Celestial City and the River of Bliss1841
84
Macbeth
85
The Coronation of Queen VictoriaTate Britain
86
The Bard1817 · Yale Center for British Art
87
The Deluge1834 · Yale Center for British Art
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | John Martin teosid | Selle nimekirja maalid |
|---|---|---|---|
 Yale Center for British Art |
New Haven | 11 | Landscape with a Castle, Kensington Garden, Kensington Garden |
 Tate Britain |
London | 8 | The Great Day of His Wrath, Plate from, The Last Judgement |
 Te Papa |
Wellington | 2 | Eve, Iguanodoni maa |
 Kanada Rahvusgalerii |
Ottawa | 2 | Ancestor Worship, The Court of God: Paradise Lost (Book 3, Line 365) |
 Museum of Fine Arts |
Boston | 2 | Sadak in Search of the Waters of Oblivion, Seventh Plague of Egypt |
 Fitzwilliam Museum |
2 | Twilight in the woodlands, Landscape: View in Richmond Park | |
 Laing Art Gallery |
Newcastle upon Tyne | 1 | The Destruction of Sodom And Gomorrah |
 Victoria and Albert Museum |
London | 1 | The Evening of the Deluge |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
A distant castle perches atop a jagged hill, silhouetted against a turbulent sky. The composition relies on heavy, dark foreground elements that direct the eye toward a luminous middle ground. Earthy tones of deep brown, ochre, and forest green dominate the terrain, while a dramatic sky of slate grey and pale yellow breaks through the clouds. Light emanates from behind the cloud cover, casting a sharp spotlight effect across the…
To stand before John Martin's monumental vision, The Evening of the Deluge, is not merely to observe a painting; it is to be submerged within an epochal moment of divine wrath and human fragility. Created in 1828, this work transcends simple depiction, becoming instead a profound meditation on humanity’s place against the overwhelming power of nature. Martin, a master chronicler of the sublime, utilized his immense scale—a staggering 597 x…
John Martin's "Destruction of Tyre," completed in 1840, is not merely a depiction of a historical event; it is a visceral embodiment of Romanticism’s fascination with the sublime – that overwhelming feeling of awe and terror inspired by nature’s power. Measuring an imposing 95 x 838 cm, this oil on canvas transports the viewer directly into the heart of apocalyptic chaos. The scene, based on the biblical account in 2…
In the heart of the nineteenth century, few images could stir the Victorian soul with as much terror and awe as John Martin’s The Great Day of His Wrath. This monumental oil on canvas is not merely a painting; it is a visceral experience of the sublime. As the eye wanders across the vast, turbulent landscape, one is immediately struck by the sheer scale of destruction. The scene captures the…
The Great Day of His Wrath (1851), Tate Britain, London. Järgnevad The Destruction of Sodom And Gomorrah (1852) ja The Evening of the Deluge (1828).
62 aastat vanus: teos The Great Day of His Wrath on pärinev aastast 1851 ning John Martin sündis aastal 1789.
The Great Day of His Wrath, The Destruction of Sodom And Gomorrah, The Evening of the Deluge, Eve, Great Day of His Wrath, Destruction of Tyre, Satan in Council, Pandemonium, Fall of Babylon ja Belshazzar's Feast. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 88 teost kunstnikult John Martin, mis on pärinevad ajastust 1812 kuni 1852.
Peamiselt Yale Center for British Art (New Haven), Tate Britain (London) ja Te Papa (Wellington) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1810s: 10 87 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Landscape with a Castle.
Sellel lehel on kõige vanem teos Sadak in Search of the Waters of Oblivion (1812) ja kõige värskeim The Destruction of Sodom And Gomorrah (1852).
People (13), Landscape (12) ja Mountains (8), kogu selle lehekülje 87 teose kohta.
Oil On Canvas, 16 teoseks 87 töödelt sellel lehel.
Romanticism, seda lähtudes selle lehe originaalteostest.
Landscape with a Castle, Kensington Garden ja Kensington Garden: Yale Center for British Art, New Haven säilitab 11 selle lehel olevat teost.
John Martin (1789–1854) oli kuulus inglise romantilise suunaga maalik, graveerija ja illustraator, kelle draamilised kompositsioonid võlustasid viktoriaanliku ühiskonna südameid. Sündinud Northumberlandi Haydon Bridges 19. juulil 1789, tõusis ta lihtsatest oludest ühe oma ajastu populaarseimaks kunstnikuks, tulles teatuks oma tohutute maastikudest, mis olid täidetud väikeste inimfiguuridega ning kujistasid bibliseid stseene ja fantaasialisi narratiive võimsate mõõdude ja emotsioonidega.
Martini varajast elu isutasid praktilised tegevused. Ta läks õppesse kohtubuildajale Newcastle upon Tynes, kus õppis heraldikat ehk heraldilist maalidust – oskus, mis mõjutas hiljem tema täpsust ja hoolikust detailide suhtes. 1806. aastal kolis ta Londonisse, kus abi otsimine ette nägi joonistustundide jagamist ning akvarellitööde ja dekoratiivse pealmaali keraamikalle ja klaasile tellimuste täitmist. See periood teritas tema tehnilisi oskusi, võimaldades samal ajal uurida erinevaid kunstilisi meediumeid. Tema varajased teosed näitavad arenevat huvi draamilisele valguslahendustele ja kompositsioonile, ennustades tema hiljemist eripärast stiili.
Martini eripärase stiili iseloomustavad selle grandioosne mõõtme, melodraamatiline intensiivsus ja hoolikas detailikäsitlus. Ta kujutas sageli bibliseid teemasid, nagu Sodomi ja Gomorra häbimatus ning Belshazzari pidu, teatrilise elegantsiga, mis tekitas vaatajas sügava sidumuse. Tema maastikud, näiteks Harnham Church, lähedal Salisburyle, demonstreerisid tema võimet tabada rahulikke maastikukohtasid, säilitades samal ajal suurepärasuse tunde. Tema kunstilist võimekust näitavad järgmised peateosed:
John Martin saavutas oma elu jooksul märkimisväärset tunnustust. Aastatel 1821 viitas Walter Sickert temale kui "oma ajastu populaarseimale maalari". Ta sai kuldmedali Venemaa tsaar Nikolai Iltult ning talle anti Leopoldi orden Saxe-Coburg ja Gotha prints Leopoldilt, muutudes prints Leopoldi ametlikuks ajalooliseks maalikuks. Tema teoseid näidis tihti nii National Gallery kui ka Tate Gallery, kinnistades tema positsiooni Briti kunstimaailma siseelus.
Hoolimata ajastust, mil tema nimi pärast surma 17. veebruaril 1854 oli suhteliselt unustatud, on Martini tööd kenedud uue hindamise perioodi. Täna tunnustatakse tema maale nende ainulaadse romantilise drama, täpsuse ja kujut力lintliku ulatuse segunuse eest. Tema mõju on nähtav ka hilisemate kunstnike töödes, sealhulgas James Francis Danbys, keda inspireerisid Martini draamilised maastikud. John Martin jääb Briti kunstiajalukus oluliseks tegelaseks, mida austatakse tema võimekuse eest viia vaatajad eepilistesse maailmadesse, mis on täidetud nii kummardust väärivate ilu kui ka hirmutava jõu tundega.
