{
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"tombstone": "The Valley of the Tyne, My Native Country near Henshaw, 1842. John Martin (British, 1789\u20131854). Watercolor, gouache and gum arabic with graphite underdrawing, sanding, and scraping; sheet: 26.6 x 67.5 cm (10 1/2 x 26 9/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1997.138",
"current_location": null,
"title": "The Valley of the Tyne, My Native Country near Henshaw",
"creation_date": "1842",
"creation_date_earliest": 1842,
"creation_date_latest": 1842,
"artists_tags": [
"male"
],
"culture": [
"England, 19th century"
],
"technique": "watercolor, gouache and gum arabic with graphite underdrawing, sanding, and scraping",
"support_materials": [
{
"description": "cream(3) wove paper, lined with beige(1) wove paper, perimeter mounted to a tertiary support of modern matboard",
"watermarks": []
}
],
"department": "Drawings",
"collection": "DR - British",
"type": "Drawing",
"measurements": "Sheet: 26.6 x 67.5 cm (10 1/2 x 26 9/16 in.)",
"dimensions": {
"sheet": {
"height": 0.266,
"height_inch": 10,
"height_inch_fraction": 0.5,
"width": 0.675,
"width_inch": 26,
"width_inch_fraction": 0.5625
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "signed, lower right, in watercolor: J. Martin / 1842",
"inscription_translation": null,
"inscription_remark": null,
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],
"exhibitions": {
"current": [
{
"id": 192019,
"title": "Master Drawings from the Cleveland Museum of Art",
"description": "Master Drawings from the Cleveland Museum of Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).",
"opening_date": "2000-08-27T00:00:00"
},
{
"id": 200485,
"title": "British Drawings from the Cleveland Museum of Art ",
"description": "British Drawings from the Cleveland Museum of Art . The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).",
"opening_date": "2013-02-10T00:00:00"
}
],
"legacy": [
{
"description": "John Martin Loan Exhibition: Oil Paintings, Watercolours, Prints. Hazlitt, Gooden & Fox, London (October 30 - November 21, 1975).",
"opening_date": "1975-10-30T00:00:00"
},
{
"description": "British Paintings and Watercolours of the 17th, 18th and 19th Centuries. Spink-Leger Pictures, London (May 20 - June 6, 1997).",
"opening_date": "1997-05-20T00:00:00"
}
]
},
"provenance": [
{
"description": "Henry [1854-1937] and Margaret [1854-1921] Hobhouse, Somerset",
"citations": [],
"footnotes": null,
"date": "?-?",
"sortorder": null
},
{
"description": "C. D. Hobhouse",
"citations": [],
"footnotes": null,
"date": "?-?",
"sortorder": 2
},
{
"description": "(Spink-Leger Pictures, London, sold to the Cleveland Museum of Art, Cleveland, OH)",
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"footnotes": null,
"date": "?-1997",
"sortorder": 3
},
{
"description": "Cleveland Museum of Art, Cleveland, OH",
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"footnotes": null,
"date": "1997-",
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"did_you_know": "The setting of this watercolor is John Martin's native Northumberland, to which he was deeply attached and described having spent time there \"exulting in the sublime grandeur of the surrounding beauties of nature.\"",
"early_education_description": null,
"artlens_description": null,
"description": "Panoramic landscapes in watercolor became an important source of income during John Martin\u2019s late career. This work demonstrates his ability to convey monumentality on a small scale and to combine broad washes of color with meticulous detail. The sweeping vista in this drawing describes the fertile valley of the River Tyne, known for its forests, flora, and fauna. Curving arcs of slopes and plains swirl around the composition. A tiny couple and dog rush through the vast landscape beneath ominous storm clouds.",
"external_resources": {
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"https://www.wikidata.org/wiki/Q79979914"
],
"internet_archive": [
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"citations": [
{
"citation": null,
"page_number": null,
"url": null
},
{
"citation": "Feaver, William. The Art of John Martin. Oxford: Clarendon Press, 1975.",
"page_number": "Mentioned: pp. 178-9, 232 n. 50, 233 n. 91; Reproduced: fig. 137",
"url": null
},
{
"citation": "Feaver, William. John Martin Loan Exhibition: Oil Paintings, Watercolours, Prints. Exh. Cat. London: Hazlitt, Gooden & Fox, 1975.",
"page_number": "Mentioned: no. 43",
"url": null
},
{
"citation": "British Paintings and Watercolours of the 17th, 18th, and 19th Centuries. Exh. Cat. London: Spink-Leger Pictures, 1997.",
"page_number": "Mentioned: no. 15",
"url": null
},
{
"citation": "Cleveland Museum of Art, \u201cMajor African Sculpture, Recent Mark Tansey Painting, and Other Works of Art Enter CMA Collection,\u201d September 16, 1997, Cleveland Museum of Art Archives.",
"page_number": null,
"url": "https://archive.org/details/cmapr4152"
},
{
"citation": "DeGrazia, Diane, and Carter E. Foster. Master Drawings from the Cleveland Museum of Art. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.",
"page_number": "Mentioned: pp. 190-191, 294, no. 78; Reproduced: p. 191",
"url": null
},
{
"citation": "Lemonedes, Heather. British Drawings: The Cleveland Museum of Art. Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.",
"page_number": "Mentioned: pp. 60-3, 146-7, no. 19b; Reproduced: pp. 62-3",
"url": null
}
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"biography": "Born in Northumberland, John Martin began his career as a coach and ceramics painter before exhibiting oil paintings at the Royal Academy, London. His first critical success, Sadak in Search of the Waters of Oblivion (1812, Saint Louis Art Museum), introduced his penchant for dramatic compositions with diminutive figures in vast and often threatening landscapes. Joshua Commanding the Sun to Stand Still upon Gideon (1816, United Grand Lodge of England) and Belshazzar's Feast (1821, private collection) combined meticulous biblical and archaeological research with imaginative pictorial narrative and sensational architectural perspective to create a unique genre of the apocalyptic sublime. Martin was an inveterate self-promoter, and in an effort to broaden his commercial support in the 1820s he designed and engraved nearly a hundred mezzotint illustrations to the Bible and to Milton's Paradise Lost (1667), thus becoming one of the principal exponents and arguably the most accomplished practitioner of that printmaking technique in the nineteenth century. A number of unrealized engineering schemes that were as grandiose as the subjects of many of his most imposing pictures preoccupied Martin in the 1830s and 1840s, diverting much of his energy from his art. These plans included a water system and sewage disposal plan for the city of London. In his final years he returned to the cataclysmic inspiration of his middle period and painted a magnificent trilogy of Last Judgment pictures now in the Tate Gallery, London.",
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"updated_at": "2026-05-29 08:17:27.745000"
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