{"title":"John Martin Prints","description":"\u003cp\u003eFine art prints by John Martin. Every work in our John Martin collection is printed to order. All chosen by hand, with free shipping and import duties covered.\u003c\/p\u003e","products":[{"product_id":"john-martin-the-great-day-of-his-wrath-fine-art-giclee-print","title":"John Martin — The Great Day of His Wrath | Fine Art Giclée Print","description":"\u003cp\u003eThe earth is coming apart. A whole mountainside topples inward from the left, its rock face still catching a cold white light; the centre of the picture drops away into a chasm of orange and red fire, and above it a bruised purple-grey storm boils with lightning. Along the lower edge, tiny pale bodies fall in scattered clusters — a whole city's worth, rendered at the size of sparks. Martin painted \u003cem\u003eThe Great Day of His Wrath\u003c\/em\u003e between 1851 and 1853 as part of his final apocalyptic triptych, and no one has painted the end of the world more literally since.\u003c\/p\u003e\u003cp\u003eJohn Martin (1789–1854) painted the apocalypse at a scale no one had attempted, filling vast canvases with collapsing mountains, burning cities and figures reduced to sparks. His mezzotints hung in ordinary parlours across Victorian Britain and shaped how the English-speaking world pictures the end of the world; Turner admired him, critics despaired of him, and cinema borrowed from him wholesale.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Above him the cliffs rise in towering tiers of brown and rust rock, catching light from the upper left, where white zigzags of lightning cut across a gorge. The scene comes from James Ridley's Tales of the Genii, in which the nobleman Sadak seeks the Waters of Oblivion to win back his wife.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1812; Saint Louis Art Museum.\u003c\/p\u003e\u003cp\u003eJohn Martin (1789–1854) was an English painter and mezzotint engraver famous for vast apocalyptic and biblical scenes: Belshazzar's Feast (1820), The Destruction of Sodom and Gomorrah (1852) and Pandemonium (1841). His mezzotints for Milton's Paradise Lost (1825–27) carried his visions of colossal architecture and infernal light to a wide public. The Last Judgement triptych is in Tate Britain.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. 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A second winged figure with a spear stands behind him. Below, the cave floor opens onto a burning lake where swarms of tiny figures rise from the flames. Martin's signature is scratched into the rock at lower centre, and his credit is lettered beneath.\u003c\/p\u003e\u003cp\u003eJohn Martin (1789–1854) was an English painter and mezzotint engraver famous for vast apocalyptic and biblical scenes: Belshazzar's Feast (1820), The Destruction of Sodom and Gomorrah (1852) and Pandemonium (1841). His mezzotints for Milton's Paradise Lost (1825–27) carried his visions of colossal architecture and infernal light to a wide public. The Last Judgement triptych is in Tate Britain.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. 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