The Crucifixion, John Martin, early - mid 19th century
John Martin, portretJohn MartinEngeland, 1789–1854

The Crucifixion

early - mid 19th century · Drawing · 14.7 × 24.4 cm

Mag men het zien?

Ontvangt momenteel niet

Victoria and Albert Museum

Londen, Verenigd Koninkrijk

Het hoort bij de collectie, maar is momenteel niet tentoongesteld.

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Gegevens

Inventarisnummer
DYCE.966

Wat het toont

In de catalogus

Bronnen

Intussen, in het leven van John Martin

Het hele leven
  1. 1811

    First picture at the Royal Academy exhibition

    Sent in once again, the same painting is hung in the Great Room under the title “A Landscape Composition” as item no. 46; thereafter Martin produces a succession of large exhibited oil paintings — landscapes and, more usually, grand biblical themes inspired by the Old Testament.

  2. 1812

    Sells “Sadak” for fifty guineas

    Back home with the painting, Martin finds the visiting card of William Manning MP, who wants to buy it; “Sadak” is sold for fifty guineas, and patronage propels the artist’s career.

  3. 1820

    Five thousand paying viewers for “Belshazzar’s Feast”

    Martin’s triumph: the picture excites much favourable and hostile comment, five thousand people pay to see it, and the British Institution awards it a prize of £200 — the “Joshua” had earlier carried off a premium of £100 there.

  4. 1823

    Commissioned to engrave “Paradise Lost”

    Having begun to experiment with mezzotint, Martin is commissioned by Samuel Prowett to illustrate Milton’s “Paradise Lost” for 2,000 guineas; before the first 24 engravings are finished he is paid a further 1,500 guineas for a second set of 24 on smaller plates. For significant periods of his life he earned more from his engravings than from his paintings.

  5. 1825–1827

    The “Paradise Lost” engravings are published

    Prowett issues four separate editions of the engravings in monthly instalments — the first appears on 20 March 1825 and the last in 1827; notable prints include “Pandæmonium” and “Satan Presiding at the Infernal Council”, remarkable for the science-fiction element in their architecture, and “Bridge over Chaos”, arguably Martin’s most dramatic composition.

  6. 1829

    His brother Jonathan sets fire to York Minster

    His elder brother, the nonconformist Jonathan Martin, deliberately sets fire to York Minster, causing extensive damage; an onlooker likens the scene to John’s paintings, and his profile rises further. John pays for his brother’s defence at the trial out of his own money: “Mad Martin” is found guilty but is spared the hangman’s noose on the grounds of insanity.

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