Shore Scene, Evening, John Martin, early 19th century
John Martin肖像John Martin英格兰, 1789–1854

Shore Scene, Evening

early 19th century · Oil painting · 7.6 × 10 cm

可否一睹真容?

眼下不见客

仍属馆藏,只是目前没有展出。

核实
此状态始于
出处
博物馆

作品信息

馆藏编号
P.67-1968

画面内容

已收入目录

出处

与此同时,在John Martin的生活中

完整生平
  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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