John Martin
Subtitle: apocalypse
By: edited by Martin Myrone ; with contributions by Anna Austen ... [et al.].
Contributors: Myrone, Martin; Austen, Anna; Tate Britain (Gallery)
Publisher: Tate Pub.; Distributed in the U.S. by Abrams
Published: 2011
Place of publication: London; New York
Language: eng
Number of pages: 240
ISBN-13: 9781854378897
Subjects: Apocalypse in art; Criticism and interpretation; Exhibitions
Other titles: Apocalypse
Description: "John Martin's spectacular paintings, featuring panoramic scenes of battles, biblical catastrophes and the vastness of nature, moved and astonished viewers in his own day.  The legacy of his apocalyptic imagery remains clearly visible today, in art, popular culture and blockbuster cinema.  Yet his success was controversial: many critics thought his work vulgar and misguided, and were further confused by Martin;s engagement with science, engineering and public affairs.  Perhaps as a result, he has been unjustly neglected by modern art history.  This long-overdue reassessment surveys the full range of Martin's achievement, examining the paintings and prints that made him famous, as well as his astoundingly accomplished watercolours.  With many stunning illustrations capturing the full drama of Martin's  vision, the book also includes searching essays by leading authorities on his life and work, providing new insights into the career of an extordinary and driven artist with a perpetually enquiring mind."--P [4] of cover.
Notes: Published on the occasion of the exhibition at Tate Britain, Sept. 21, 2011-Jan. 15, 2012.

Includes bibliographical references and index.
Table of contents: title: John Martin: art, taste, and the spectacle of culture  -- Martin Myrone; title: John Martin as a commercial printmaker  -- Michael J. Campbell; title: The prophet motive? John Martin as a civil engineer  -- Lars Kokkonen; title: Deep time, dragons and dinosaurs  -- David Bindman; title: The abyss that abides  -- Julie Milne; title: Catalogue -- Martin Myrone and Anna Austen, with a technical essay by Sarah Maisey.