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tauiiij, J1IIU VT in III (I in (./‘till year.John Maktin, the eminent painter, who has just died, was horn at Haydon Bridge, near Hexham, in Northumberland, 1789, and received his elementary education at the free school ot that place. Having from his earliest years “ determined to he a painter,” and his family having removed to Newcastle, he was, at fourteen years of age, bound apprentice to a coach-builder of that town, on the express understanding that he was to be taught the art of coach and heraldic painting; but, being subjected to the mere drudgery of the trade, he, at the end of the first year, resented tlie non-performance of the stipulation with spirit and success, the magistrates ordering the indentures to be cancelled as he wished. He was then placed under an Italian drawing-master, Signor Musso, the father of the celebrated Charles Muss, tins enamel painter. Young Muss having settled in London as a glass and china painter, encouraged young Martin to come to him, and gave him employment under his firm. He arrived in'town in his eighteenth year, in 180(5. Whilst working all day at china painting, he spent many hours at night in the acquirement of those branches of knowledge which he deemed essential in the arts, especially architecture and perspective. He married at twenty, in 1809. About that time the firm to which Mr. Muss belonged was dissolved, and the two friends were employed by Mr. Collins'of til ‘ Strand. John Mar tin went on making water-colour drawings at night, and even contrived to paint his first oil picture of “Clytie” for the Royal Academy hxhibition of 1810. That year it was rejected, but when again offered the next season it was received. In 1812 he exhibited his “ Sadak in Search of the Waters of Oblivion,” the first striking indication of his genius, and in 1815 he obtained 100/. premium at the British Institution for his “ Joshua commanding the Sun to stand still ” He produced the 41 Fall of Babylon” in 1819; his “ Macbeth and the Witches” followed; and in 1821 appeared his memorable “ Belshazzar’s Feast,” which produced a wonderful sensation, and obtained a premium of 200/. at the British Institution. The “Destruction of Herculaneum” was less successfnl. Then came the “ Seventh Plague’* and the “ Papacian Bower;” the “Creation” in 1824, and in 1826 the “Deluge.” In the full force of his energies he commenced the “Fall of Nineveh,” which came before the world in 1828. For some years subsequently Martin’s time and industry were chiefly employed in engraving from his pictures. But whilst thus industriously engaged, he was almost forgot as a painter, and it was only when he produced his picture of the “ Coronation of Queen Victoria,” that the world renewed its acquaintance with the great artist. His pictures hung neglected on his walls; none but men of science, of literary fame, or the artists unable to purchase, went to see them, whilst his quarrel with the Royal Academy kept him from exhibiting. Notwithstanding the extraordinary amount of industry spent on his pictures and engravings, nearly as much time and the larger portion of his earnings were expended on engineering plans for the improvement of London, such as the embankment of the Thames and the drainage of the town; also on the ventilation of mines, lighthouses, and the improvement of our harbours. The money he actually expended on those useful and ingenious projects must have exceeded 10,000/., a large sum to be taken from the earnings of an artist, who, though temperate beyond most men, had his house always open to poor relations and a large circle of fiieuda, who delighted in partaking of his hospitality. Martin was seized with the illness which has terminated his career on the 12th November. While engaged in puintiug he was suddenly attacked with a paralytic stroke, which deprived him of the use of his speech, and of his right hand. He gradually sank in strength and spirits until the 17ih ult., when he ceased to breathe. The mind of the artist kept its tone, aud his hand its power to the last. He was working on pictures illustrative of the Last Judgment within a few weeks of his death. Mr. Martin has left several children— all of them grown up. Here closes our record of the last three great geniuses—Hogarth, Flaxraan, and Martin—who have convinced the world that in fine arts, as in poetry, Englishmen are capable of all that is great and beautiful, John Martin was painter to King Leopold and other sovereigns on the continent; yet is there no picture of this great painter in our National Gallery now that the public can contemplate and admire.
Newspaper Details
London Atlas
London, Middlesex, GB
Sat, Mar 04, 1854
Page 7
Full Page
Clipped by
Adam N.
NA, 02 Nov 2024
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