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United Kingdom • 1789−1854

Biography and information

Martin studied at Newcastle and earned a living by painting on porcelain. In 1806 he came to London, and in 1811 was first exhibited in KOR. Academy. Starting with the painting "Clytie," which he exhibited here in 1814, he always quarrels with academia. The work of Martin is developing in the direction of the image space and a fantastic landscape inspired by the dramatic works of Turner ("the crossing of the Alps ar-

MIA Hannibal", 1812, London, Gal. Tate). It borrows some of the techniques of the sublime in "Egovision" Lagerborg. In his large compositions depicting the calamities and disasters, it deploys a broad architectural perspective, in which tiny figures stand out against the bluish heavens ("Belshazzar's Feast", 1821, Sobranie Frank, watercolor, approx. 1830, London, British Museum; "the Seventh plague of Egypt", 1823, Boston, Museum of fine arts; "the deluge", 1826, the Paris Salon of 1834; "the Fall of Nineveh", 1828). The artist often borrows its motifs from the paintings of Turner or architectural structures of John Nash in London, but the study of the chronology of his work shows that he could affect the two masters ("the Palace of Caligula", 1831; "Regulus leaving Carthage", 1837, London, Gal. Tate). Aware of the technical limitations of his talent as a painter and wanting to use the success of his paintings, Martin in 1820 refers to the engraving. It illustrates the "Paradise Lost" Milton (1827) and "the Bible" (1835). Thus, his works are getting popularity on the continent, where his masterful use of black and white had a great influence on Gustave Dore. The artist's genius was highly appreciated by Charles X, to whom he dedicated the engraving of "the Fall of Nineveh" (1830), and Luisfilipe during exposure, "the flood" at the Paris Salon (1834). Soon Martin, a respected French literary circles (Victor Hugo, Sainte-BEUVE, Michelet), becoming one of the most revered British artists, despite a certain restraint of language, appreciation of art lovers. Shortly before his death he was working on the theme of "the last judgment" (the trilogy "the Great day of wrath", 1853, London, Gal. Tate; "the sky", the last judgement, 1853, the congregation franc), which was a huge success after his death. Along with these cosmic works which blooms sometimes true love in the romantic sense ("Bard", 1817, Newcastle, Art Gal.; "King Arthur," 1849; "the Last man", 1849, Liverpool, Art Gal. Walker), Martin has created a wonderful lyrical landscapes where, unlike of his contemporaries, he liked to emphasize changes made by the industry in the English countryside. He liked to draw the London suburbs ("Richmond Park", London, Victoria and albert Museum), he was passionately fond of some technical projects, in particular providing London with running water, which is reflected in the beautiful watercolors depicting the sources around the city.