Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 88 works by John Martin in our catalogue
In short
John Martin's best-known piece is The Great Day of His Wrath (1851). You'll find it at the Tate Britain in London. Next on the list are The Destruction of Sodom And Gomorrah (1852) and The Evening of the Deluge (1828). We have 88 works by John Martin in our catalogue; this guide picks out the 87 best known, with the year, the museum and the story of each piece.
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…
A Tempestuous Vision of Faith: Examining John Martin’s ‘Eve’ John Martin (1789-1854) stands as a titan amongst Romantic painters, his canvases exploding with dramatic fervor and capturing the sublime terror that defined the era. His masterpiece, ‘Eve,’ etched in monochrome printmaking – specifically engraving – transcends mere depiction; it embodies the very spirit of Romantic idealism, presenting a visceral confrontation between divine judgment and human transgression. This print isn’t simply…
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
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Landscape, Possibly the Isle of Wight or Richmond Hill1815 · Yale Center for British Art
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The Court of God: Paradise Lost (Book 3, Line 365)1824 · National Gallery of Canada
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Joshua Commanding the Sun to Stand Still1840 · Yale Center for British Art
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Pandemonium - John Martin2026
The Fallen Angels Entering Pandemonium, from Paradise LostTate Britain
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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
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The four subjects that come up most often in these pieces, each with its best-known example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by John Martin | Paintings from this list |
|---|---|---|---|
 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, The country of the Iguanodon |
 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 |
Pick a decade to see its standout piece.
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…
Top of the list is The Great Day of His Wrath (1851), Tate Britain, London. Right behind it: The Destruction of Sodom And Gomorrah (1852) and The Evening of the Deluge (1828).
62 years old. John Martin was born in 1789, and The Great Day of His Wrath dates from 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 and Belshazzar's Feast. You'll find the year and the museum of each in the list above.
We have 88 works by John Martin in our catalogue, dated 1812 to 1852.
You'll find most of them in Yale Center for British Art (New Haven), Tate Britain (London) and Te Papa (Wellington). The museum list above has the full breakdown.
In 1810s, more than any other time: 10 of the 87 pieces on this page date from then, Landscape with a Castle among them.
The earliest piece here is Sadak in Search of the Waters of Oblivion (1812); the most recent is The Destruction of Sodom And Gomorrah (1852).
People (13), Landscape (12) and Mountains (8), out of the 87 pieces on this page.
Oil On Canvas, used in 16 of the 87 pieces on this page.
Romanticism, as you can see in the pieces on this page.
You can see 11 of the pieces on this page at the Yale Center for British Art, New Haven, including Landscape with a Castle, Kensington Garden and Kensington Garden.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
John Martin (1789-1854) was a celebrated English romantic painter, engraver, and illustrator whose dramatic compositions captivated the Victorian public. Born in Haydon Bridge, Northumberland, on July 19, 1789, he rose from humble beginnings to become one of the most popular artists of his day, renowned for his vast landscapes populated by minute figures and depicting biblical scenes and fantastical narratives with a powerful sense of scale and emotion.
Martin's early life was marked by practical pursuits. He was apprenticed to a coachbuilder in Newcastle upon Tyne, where he learned heraldic painting – a skill that would later inform his meticulous attention to detail. In 1806, he moved to London, marrying at the age of nineteen and supporting himself through drawing lessons and commissions for watercolors and decorative work on china and glass. This period honed his technical skills while allowing him to explore various artistic mediums. His early works show a developing interest in dramatic lighting and composition, foreshadowing his later signature style.
Martin's distinctive style is characterized by its grand scale, melodramatic intensity, and meticulous detail. He frequently depicted biblical subjects, such as The Destruction of Sodom and Gomorrah and Belshazzar’s Feast, with a theatrical flair that resonated deeply with audiences. His landscapes, like Harnham Church, near Salisbury, demonstrated his ability to capture serene countryside scenes while maintaining a sense of grandeur. Key works showcasing his artistic prowess include:
John Martin achieved considerable recognition during his lifetime. He was referred to as "the most popular painter of his day" by Walter Sickert in 1821 and received a gold medal from the Russian Tsar Nicholas I. He was awarded the Order of Leopold from Prince Leopold of Saxe-Coburg and Gotha, becoming the official historical painter to Prince Leopold. His works were exhibited at both the National Gallery and the Tate Gallery, solidifying his place within the British art establishment.
Despite a period of relative obscurity after his death on February 17, 1854, Martin’s work has experienced a resurgence in appreciation. Today, his paintings are recognized for their unique blend of Romantic drama, meticulous detail, and imaginative scope. His influence can be seen in the works of later artists, including James Francis Danby, who was inspired by Martin's dramatic landscapes. John Martin remains an important figure in British art history, celebrated for his ability to transport viewers to epic worlds filled with both awe-inspiring beauty and terrifying power.
