Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 88 værker af John Martin i vores katalog
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John Martin's mest kendte værk er The Great Day of His Wrath (1851). Du kan finde det på Tate Britain i London. Næste på listen er The Destruction of Sodom And Gomorrah (1852) og The Evening of the Deluge (1828). Vi har 88 værker af John Martin i vores katalog; denne guide udvælger de 87 mest kendte, inklusiv årstal, museum og historien bag hvert værk.
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) står som en titan af romantikken, en kunstner der kæmpede med det sublime og kanaliserede dets angst ud på lærredet på måder, der fortsat resonerer i dag. Hans monumentale tryk, ’Eve’, exemplificerer denne bekymring – en skræmmende gengivelse af lokkemad og guddommelig hævn udført med præcision og fyldt med nærværende følelse.
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…
Satan Arousing the Fallen Angels, Book 1, line 314, from John Milton, Paradise Lost1824
Gør den til din egen from $475 →
Landscape, Possibly the Isle of Wight or Richmond Hill1815 · Yale Center for British Art
Bestil dette værk from $175 →
The Court of God: Paradise Lost (Book 3, Line 365)1824 · National Gallery of Canada
Gør den til din egen from $175 →
Joshua Commanding the Sun to Stand Still1840 · Yale Center for British Art
Bestil dette værk from $175 →
The Assuaging of the Waters1840 · Fine Arts Museums of San Francisco
Gør den til din egen from $175 →
Pandemonium - John Martin2026
The Fallen Angels Entering Pandemonium, from Paradise LostTate Britain
Få den håndmalet from $175 →
A Country Graveyard, Possibly Bunhill Fields, Finsbury, A Wooded Landscape Beyond
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Sadak in Search of the Waters of Oblivion1812 · Saint Louis Art Museum
Få den håndmalet from $175 →
De fire motiver, der optræder hyppigst i disse værker, hver med sit mest kendte eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af John Martin | Malerier fra denne liste |
|---|---|---|---|
 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, Landskabet ved iguanodonen |
 National Gallery of Canada |
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 |
Vælg et årti for at se dets mest fremtrædende værk.
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…
Øverst på listen er The Great Day of His Wrath (1851), Tate Britain, London. Lige efter kommer: The Destruction of Sodom And Gomorrah (1852) og The Evening of the Deluge (1828).
62 år gammel. John Martin blev født i 1789, og The Great Day of His Wrath er fra 1851.
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 og Belshazzar's Feast. Du finder årstallet og museet for hver af dem i listen ovenfor.
Vi har 88 værker af John Martin i vores katalog, dateret fra 1812 til 1852.
Du finder de fleste af dem i Yale Center for British Art (New Haven), Tate Britain (London) og Te Papa (Wellington). Listen over museer ovenfor giver en fuldstændig oversigt.
I 1810s, mere end på andre tidspunkter: 10 af de 87 værker på denne side stammer fra dengang, herunder Landscape with a Castle.
Det tidligste værk her er Sadak in Search of the Waters of Oblivion (1812); det nyeste er The Destruction of Sodom And Gomorrah (1852).
People (13), Landscape (11) og Mountains (8) ud af i alt 87 værker på denne side.
Oil On Canvas, anvendt i 15 af de 87 værker på denne side.
Romantic drama, som du kan se i værkerne på denne side.
Du kan se 11 af værkerne på denne side på Yale Center for British Art, New Haven, herunder Landscape with a Castle, Kensington Garden og Kensington Garden.
Ja. Hvert maleri på denne side er tilgængeligt som en håndmalet oliereproduktion eller som et print i den størrelse, der passer dig. Åbn blot maleriets side for at bestille.
John Martin (1789-1854) var en berømt engelsk romantisk maler, graver og illustrator, hvis dramatiske kompositioner fangede det victorianske publikums hjerter. Han blev født i Haydon Bridge, Northumberland, den 19. juli 1789, og steg fra ydmyge kår til at blive en af sin tids mest populære kunstnere. Han opnåede berømmelse for sine enorme landskaber, befolket af mikroskopiske figurer, der skildrede bibelske scener og fantastiske fortællende verdener med en overvældende følelse af skala og emotionel dybde.
Martins tidlige liv var præget af praktiske sysler. Han blev lærling hos en vognbygger i Newcastle upon Tyne, hvor han lærte heraldisk maleri – en færdighed, der senere ville præge hans møjsommelige sans for detaljen. I 1806 flyttede han til London, hvor han blev gift som nittenårig og forsørgede sig selv gennem tegnetimer samt bestillingsarbejde med akvareller og dekorative opgaver på porcelæn og glas. Denne periode sleb hans tekniske evner og gav ham mulighed for at udforske forskellige kunstneriske medier. Hans tidlige værker udviser en spirende interesse for dramatisk lyssætning og komposition, hvilket varslede hans senere signaturstil.
Martins særprægede stil er kendetegnet ved sin monumentale skala, melodramatiske intensitet og minutiøse detaljerigdom. Han skildrede ofte bibelske motiver, såsom Sodoms og Gomorras ødelæggelse og Belshazzars gæstebud, med en teatralsk flair, der resonerede dybt hos beskueren. Hans landskaber, som f.eks. Harnham Church, nær Salisbury, demonstrerede hans evne til at indfange fredfyldte landscener på landet, samtidig med at han bevarede en følelse af storhed. Blandt de centrale værker, der udstiller hans kunstneriske formåen, findes:
John Martin opnåede betydelig anerkendelse i sin levetid. I 1821 blev han af Walter Sickert omtalt som "sin tids mest populære maler", og han modtog en guldmedalje fra den russiske zar Nikolaj 1. Han blev desuden tildelt Legionsorden af prins Leopold af Saxe-Coburg og Gotha og blev den officielle historiemaler for prinsen. Hans værker blev udstillet i både National Gallery og Tate Gallery, hvilket cementerede hans plads i det britiske kunstetablissement.
På trods af en periode med relativ glemsel efter sin død den 17. februar 1854, har Martins værk oplevet en genopdagelse og fornyet værdsættelse. I dag anerkendes hans malerier for deres unikke blanding af romantisk drama, minutiøs detalje og fantasifuld rækkevidde. Hans indflydelse kan ses i værkerne hos senere kunstnere, herunder James Francis Danby, der lod sig inspirere af Martins dramatiske landskaber. John Martin forbliver en vigtig skikkelse i britisk kunsthistorie, hyldet for sin evne til at transportere beskueren til episke verdener fyldt med både ærefrygtindgydende skønhed og rædselsvækkende magt.
