Sadak in Search of the Waters of Oblivion is an 1812 oil painting by John Martin. It has been called "the most famous of the British romantic works"; [1] it was the first of Martin's characteristically dramatic, grand, grandiose large pictures, and anchored the development of the style for which Martin would become famous.
The painting shows a human figure climbing in a mountain landscape. The man struggles to surmount a rocky outcrop beside a pool and waterfall; more jagged cliffs and peaks loom in the background, vastly receding. Martin later stated that he finished the work in a month. And he wrote, "You may easily guess my anxiety when I overheard the men who were to place it in the frame disputing as to which was the top of the picture! Hope almost forsook me, for much depended on this work." [2] (At the time, Martin had left his £2-per-week job as a glass painter in a china factory, and was attempting to establish himself as an independent artist.)
The artist's anxiety was unnecessary; displayed in the Royal Academy exhibition at Somerset House, the picture was a popular success. It was purchased for fifty guineas by William Manning, a member of the board of governors of the Bank of England. Reportedly, Manning's "dying son had been moved by its depiction of the slight solitary figure clinging perilously to a ledge." [3]
For many years the painting was known only in a reduced version in the Southampton City Art Gallery. The full-size original was discovered in Sweden and acquired by the Saint Louis Art Museum in 1983. [4]
"What makes the work so remarkable is its persuasive combination of science and fantasy: while the scale seems beyond terrestrial experience, the attention given to geological and meteorological phenomena is that of the knowledgeable observer." [5] Critics who accept the conventions of Romanticism in art have appreciated Martin's Sadak; those who do not have regarded the picture as lurid or puzzling.
Martin's Romantic style can be seen as influenced by prevailing Promethean zeitgeist. This is the story of Prometheus, the Greek god who betrayed Zeus and stole the secret gift of fire. Eventually this became a popular metaphor to depict in romantic works of art, because romantics were known for employing the role of nature vs. man in their works. They believed that humans were obsolete to the natural world around them. Due to this interpretation, Sadak is drawn to a much smaller scale than the landscape that surrounds him, revealing that he stands no chance against the power of nature. Also, romanticism arose during the industrial revolution, a time when engineers and scientists were exploring nature's secret gifts, analogous to the act of Prometheus stealing the secret gift of fire. Romantics portray the unknown of nature with its unpredictability, intractability, and barbaric capabilities as an opposite of the Enlightenment thought. This can be seen in the background of Sadak in Search of the Waters of Oblivion with an erupting volcano taking place in an other worldly dimension. The idea behind the piece was not to render a precise location and to be accurate in its depiction, but to express the emotion that was being experienced by the subject.
Another key factor of Martin's style can also be seen as "end of the world" or "apocalyptic". Although, he depicts a grim scene Martin shows a mere chance of hope in the distance. A glimmering stream of light beams in the corner, giving the viewer a sense of aspiration.
Sadak is a fictional character in a story in James Ridley's The Tales of the Genii (two volumes, 1764); it is a faux-Oriental tale allegedly from a Persian manuscript, but actually the work of Ridley himself. [6] In Ridley's story, the hero Sadak is sent by his Sultan, Amurath, to find the memory-destroying "waters of oblivion." The Sultan maliciously intends to use the waters on Sadak's wife Kalasrade in a seduction attempt. Sadak endures a range of trials — a tempest at sea, a plague, evil genii, a subterranean whirlpool — before he attains his goal. In the end, the Sultan himself falls victim to the water's effect. Amurath dies; Sadak becomes Sultan. Martin's picture portrays Sadak at the climax of his struggle, just before he reaches the waters of oblivion.
(Ridley's tale was popular in its era, and was adapted into a play by Thomas John Dibdin, titled Sadak and Kalasrade, which was staged in 1797. [7] Henry Bishop mounted an operatic version in 1814.)
The picture was reproduced as a steel-plate etching in 1828. The print bore a poem on the same subject, "Sadak the Wanderer," which was attributed by some to Percy Bysshe Shelley. Modern editors of Shelley are skeptical. [8]
With this and his subsequent paintings, Martin gained a reputation for replicating the effects of stained glass on canvas. [9] He employed a strong "chemical red" hue to express volcanic landscapes. [10]
Martin followed Sadak with Adam's First Sight of Eve (1813) and Clytie (1814), both shown at the Royal Academy.
Caspar David Friedrich was a German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his allegorical landscapes, which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
In Greek mythology, Prometheus is one of the Titans and a god of fire. Prometheus is best known for defying the Olympian gods by taking fire from them and giving it to humanity in the form of technology, knowledge and, more generally, civilization.
Romanticism was an artistic and intellectual movement that originated in Europe towards the end of the 18th century. The purpose of the movement was to advocate for the importance of subjectivity, imagination, and appreciation of nature in society and culture in response to the Age of Enlightenment and the Industrial Revolution.
"The Necessity of Atheism" is an essay on atheism by the English poet Percy Bysshe Shelley, printed in 1811 by Charles and William Phillips in Worthing while Shelley was a student at University College, Oxford.
Salvator Rosa (1615–1673) is best known today as an Italian Baroque painter, whose romanticized landscapes and history paintings, often set in dark and untamed nature, exerted considerable influence from the 17th century into the early 19th century. In his lifetime he was among the most famous painters, known for his flamboyant personality, and regarded as an accomplished poet, satirist, actor, musician, and printmaker, as well. He was active in Naples, Rome, and Florence, where on occasion he was compelled to move between cities, as his caustic satire earned him enemies in the artistic and intellectual circles of the day.
John Martin was an English painter, engraver, and illustrator. He was celebrated for his typically vast and dramatic paintings of religious subjects and fantastic compositions, populated with minute figures placed in imposing landscapes. Martin's paintings, and the prints made from them, enjoyed great success with the general public, with Thomas Lawrence referring to him as "the most popular painter of his day". He was also lambasted by John Ruskin and other critics.
The Cenci. A Tragedy, in Five Acts (1820) is a verse drama in five acts by Percy Bysshe Shelley written in the summer of 1819, and inspired by a real Roman family, the House of Cenci. Shelley composed the play in Rome and at Villa Valsovano near Livorno, from May to 5 August 1819. The work was published by Charles and James Ollier in London in 1819. The Livorno edition was printed in Livorno, Italy by Shelley himself in a run of 250 copies. Shelley told Thomas Love Peacock that he arranged for the printing himself because in Italy "it costs, with all duties and freightage, about half of what it would cost in London." Shelley sought to have the play staged, describing it as "totally different from anything you might conjecture that I should write; of a more popular kind... written for the multitude." Shelley wrote to his publisher Charles Ollier that he was confident that the play "will succeed as a publication." A second edition appeared in 1821, his only published work to go into a second edition during his lifetime.
Dark Romanticism is a literary sub-genre of Romanticism, reflecting popular fascination with the irrational, the demonic and the grotesque. Often conflated with Gothic fiction, it has shadowed the euphoric Romantic movement ever since its 18th-century beginnings. Edgar Allan Poe is often celebrated as one of the supreme exponents of the tradition. Dark Romanticism focuses on human fallibility, self-destruction, judgement, punishment, as well as the psychological effects of guilt and sin.
Queen Mab; A Philosophical Poem; With Notes, published in 1813 in nine cantos with seventeen notes, is the first large poetic work written by Percy Bysshe Shelley (1792–1822), the English Romantic poet.
"A Defence of Poetry" is an unfinished essay by Percy Bysshe Shelley written in February and March 1821 that the poet put aside and never completed. The text was published posthumously in 1840 in Essays, Letters from Abroad, Translations and Fragments. Its final sentence expresses Shelley's famous proposition that "poets are the unacknowledged legislators of the world."
Mont Blanc: Lines Written in the Vale of Chamouni is an ode by the Romantic poet Percy Bysshe Shelley. The poem was composed between 22 July and 29 August 1816 during Shelley's journey to the Chamonix Valley, and intended to reflect the scenery through which he travelled. "Mont Blanc" was first published in 1817 in Percy Shelley and Mary Shelley's History of a Six Weeks' Tour through a Part of France, Switzerland, Germany and Holland, which some scholars believe to use "Mont Blanc" as its culmination.
Frankenstein; or, The Modern Prometheus is an 1818 novel written by English author Mary Shelley. Frankenstein tells the story of Victor Frankenstein, a young scientist who creates a sapient creature in an unorthodox scientific experiment. Shelley started writing the story when she was 18, and the first edition was published anonymously in London on 1 January 1818, when she was 20. Her name first appeared in the second edition, which was published in Paris in 1821.
The Sea of Ice, (1823–1824), is an oil painting that depicts a shipwreck in the Arctic by the German Romantic painter Caspar David Friedrich. Before 1826 this painting was known as The Polar Sea.
Vegetarianism in the Romantic Era refers to the rise of vegetarianism associated with the Romanticism movement in Western Europe from the eighteenth to the nineteenth century. Many of the late Romantics argued in favor of a more natural diet which excluded animal flesh for a plethora of reasons including the state of human and animal health, religious beliefs, economy and class division, animal rights, literary influence, as well as from new ideas about anthropology, consumerism, and evolution. The modern vegetarian and vegan movements borrow some of the same principles from the late Romantics to promote the adoption of diets free from animal products.
"The Cloud" is a major 1820 poem written by Percy Bysshe Shelley. "The Cloud" was written during late 1819 or early 1820, and submitted for publication on 12 July 1820. The work was published in the 1820 collection Prometheus Unbound, A Lyrical Drama, in Four Acts, With Other Poems by Charles and James Ollier in London in August 1820. The work was proof-read by John Gisborne. There were multiple drafts of the poem. The poem consists of six stanzas in anapestic or antidactylus meter, a foot with two unaccented syllables followed by an accented syllable.
Niagara Falls, from the American Side is a painting by the American artist Frederic Edwin Church (1826–1900). Completed in 1867, it is based on preliminary sketches made by the artist at Niagara Falls and on a sepia photograph. It is Church's largest painting. The painting is now in the collection of the Scottish National Gallery. Church was a leading member of the Hudson River School of painters.
Romanticism was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century. Scholars regard the publishing of William Wordsworth's and Samuel Coleridge's Lyrical Ballads in 1798 as probably the beginning of the movement in England, and the crowning of Queen Victoria in 1837 as its end. Romanticism arrived in other parts of the English-speaking world later; in the United States, about 1820.
Cross in the Mountains, also known as the Tetschen Altar, is an oil painting by the German artist Caspar David Friedrich designed as an altarpiece. Among Friedrich's first major works, the 1808 painting marked an important break with the conventions of landscape painting by including Christian iconography. In the hierarchy of genres, religious (history) painting was considered the highest genre of art; Friedrich's use of landscape to evoke a spiritual message was thus controversial, causing debate between proponents of neoclassical ideals and the new German Romanticism of Friedrich and his peers.
The Tales of the Genii: or, the Delightful Lessons of Horam, The Son of Asmar is a collection by the English author James Ridley, consisting of Oriental pastiche fantasy tales modeled on those of the Arabian Nights. The work was originally passed off as an authentic work by a Persian imam named Horam translated into English by "Sir Charles Morell, formerly ambassador from the British Settlements in India to the Great Mogul" and published by an anonymous "editor." It is the work for which Ridley is chiefly remembered.
The purple noon's transparent might is an 1896 oil on canvas landscape painting by Australian artist Arthur Streeton. The painting depicts the Hawkesbury River in New South Wales, looking toward the Blue Mountains. The work's title was taken from the poem Stanzas Written in Dejection, near Naples by Percy Bysshe Shelley.