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Tuesday, 20 September 2011 - John Martin, master of apocalypse, gets rare show |
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Slideshow: NY Fashion Week Follow Reuters Facebook Twitter RSS YouTube Read Obama offers $3 trillion debt plan, tax hikes on rich | 4:49pm EDT Greece must shrink state to avoid default: lenders 4:48pm EDT Emmy viewers down, mixed reviews for host Jane Lynch | 3:18pm EDT Ashton Kutcher on 'Two and a Half Men': How Did We Get Here? 7:00am EDT Obama's Postal Service plan would cut Saturday mail 3:15pm EDT Discussed 141 Number of poor hit record 46 million in 2010 96 Obama to propose $3 trillion in deficit cuts 71 Geithner’s ”succinct” message irks Europeans Watched Scarlett's naked pics, Tyler Perry is highest paid Wed, Sep 14 2011 Photos capture air show crash Sat, Sep 17 2011 Bomb targets Karachi police official Sun, Sep 18 2011 John Martin, "master of apocalypse," gets rare show Tweet Share this Email Print Analysis & Opinion Murdoch in good times and bad Painting a favela Related Topics Entertainment » Fashion » Arts » Lifestyle » A worker walks past John Martin's recently restored ''The Destruction of Pompeii and Herculaneum'', in Tate Britain in central London September 19, 2011. Credit: Reuters/Andrew Winning By Mike Collett-White LONDON | Mon Sep 19, 2011 11:59am EDT LONDON (Reuters) - The public adored John Martin's apocalyptic images of destruction and chaos yet the art establishment shunned him, helping to consign the British artist's works to the storage vaults. Now a new show at London's Tate Britain gallery seeks to remind modern viewers what all the fuss was about nearly 200 years ago, when thousands of people queued to see Martin's work. Charting the artist's rise to stardom, fall from grace and brief posthumous rehabilitation, "John Martin: Apocalypse" represents the largest display of Martin's works seen in public since 1822. The exhibition, which runs from September 21-January 15, 2012 also features Martin's "lost" masterpiece, "The Destruction of Pompeii and Herculaneum," painted in 1821 but badly damaged in a flood in 1928. Experts have carried out a painstaking restoration of the large, dramatic canvas, and the work will be seen in public for the first time in almost a century. "His images touched the lives of thousands of ordinary people in Britain and around the world, but his reputation has suffered from art world snobbery and misunderstanding," said Martin Myrone, curator of the show. Martin is best known for his large canvases depicting spectacular scenes from the Bible, legend and history in which the romanticized backdrop -- architectural or natural -- dwarfs the human element. Among the earliest examples on display in the exhibition is "Sadak in Search of the Waters of Oblivion," dated 1812, based on James Ridley's popular Orientalist fantasy "Tales of the Genii." Myrone said the picture was deliberately designed and executed to have maximum impact at the Royal Academy exhibition where it was first displayed. He said Martin chose the upright format rather than the more familiar landscape, and painted in bright red to draw viewers' attention to the dramatic work. "John Martin was trying to make a name for himself and grab public attention," Myrone told reporters at a preview of the show. The tactic worked, and Martin built on his early success with a series of blockbuster paintings, notably "Joshua Commanding the Sun to Stand Still upon Gibeon" (1816), "The Fall of Babylon" (1819) and "Belshazzar's Feast" (1820). Two were purchased by Martin's former employer in 1821 and went on display in a touring exhibition around the country that was highly profitable for the organizers but made little or no money for Martin himself. The artist, never slow to eye a commercial opportunity, aimed to match the success of that tour with his own solo exhibition in London, where "The Destruction of Pompeii and Herculaneum" was the centerpiece. Soon after, he turned his attention to producing a series of mezzotint engravings to illustrate John Milton's "Paradise Lost" after receiving a hefty commission. His work with prints helped spread his fame around the world, although they did little to enamor the critics who became increasingly hostile to his work. John Ruskin, the arbiter of artistic taste in the 19th century, once wrote: "Martin's works are merely a common manufacture, as much makeable to order as a tea-tray or a coal-scuttle." Myrone said he suspected "some form of class prejudice" in such judgments, while Tate Britain director Penelope Curtis saw parallels between Martin's self-promotion and that of contemporary artist Damien Hirst. The exhibition, organized roughly chronologically, dedicates a separate room to Martin's "Last Judgment" triptych painted toward the end of his life. According to the Tate, the pictures were on show from 1854, the year of Martin's death, until the 1870s, travelled across Britain as well as to New York and Australia and were seen by up to eight million members of the public. By the turn of the 20th century, they were out of sight and out of mind, dismissed as examples of Victorian "bad taste." (Reporting by Mike Collett-White, editing by Paul Casciato) Entertainment Fashion Arts Lifestyle Tweet this Link this Share this Digg this Email Reprints   We welcome comments that advance the story through relevant opinion, anecdotes, links and data. If you see a comment that you believe is irrelevant or inappropriate, you can flag it to our editors by using the report abuse links. Views expressed in the comments do not represent those of Reuters. For more information on our comment policy, see http://blogs.reuters.com/fulldisclosure/2010/09/27/toward-a-more-thoughtful-conversation-on-stories/ Comments (0) Be the first to comment on reuters.com. Add yours using the box above. Social Stream (What's this?)   Edition: U.S. Africa Arabic Argentina Brazil Canada China France Germany India Italy Japan Latin America Mexico Russia Spain United Kingdom Back to top Reuters.com Business Markets World Politics Technology Opinion Money Pictures Videos Site Index Mobile Legal Bankruptcy Law California Legal New York Legal Securities Law Support & Contact Contact Us Advertise With Us Connect with Reuters Twitter   Facebook   LinkedIn   RSS   Newsletters About Privacy Policy Terms of Use Our Flagship financial information platform incorporating Reuters Insider An ultra-low latency infrastructure for electronic trading and data distribution A connected approach to governance, risk and compliance Our next generation legal research platform Our global tax workstation Thomsonreuters.com About Thomson Reuters Investor Relations Careers Contact Us   Thomson Reuters is the world's largest international multimedia news agency, providing investing news, world news, business news, technology news, headline news, small business news, news alerts, personal finance, stock market, and mutual funds information available on Reuters.com, video, mobile, and interactive television platforms. 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