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Conrad Martens Cloud Study oil painting


Cloud Study
Painting ID::  33192
Conrad Martens
Cloud Study
mk82 c.1850 watercolour 16.2x23.7

   
   
     

Conrad Martens Coastal Scene near Exmouth oil painting


Coastal Scene near Exmouth
Painting ID::  42096
Conrad Martens
Coastal Scene near Exmouth
mk167 1829 Watercolor

   
   
     

Conrad Martens Rio Santa Cruz oil painting


Rio Santa Cruz
Painting ID::  42097
Conrad Martens
Rio Santa Cruz
mk167 Watercolour

   
   
     

Conrad Martens Australian Landscape with cattle and a stockman at a creek oil painting


Australian Landscape with cattle and a stockman at a creek
Painting ID::  42098
Conrad Martens
Australian Landscape with cattle and a stockman at a creek
mk167 1839 oil

   
   
     

Conrad Martens Aboriginal camp site oil painting


Aboriginal camp site
Painting ID::  42099
Conrad Martens
Aboriginal camp site
mk167 c.1840 Watercolor

   
   
     

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     Conrad Martens
     England/Australia Painter , 1801-1878 Australian painter, lithographer and librarian of English birth. Son of a London merchant, he studied c. 1816 under Copley Fielding. His training was as a watercolourist and his most important works are watercolours, although he also produced paintings in oils. His early work displays the taste then current for the Picturesque. Francis Danby, David Cox and Turner were artists he admired. Martens left for India in 1832 or 1833 but at Montevideo joined Charles Darwin's expedition, replacing Augustus Earle as topographical draughtsman aboard the Beagle. The work strengthened his observation of detail and skill as a draughtsman. He left the expedition in October 1834 and, travelling via Tahiti and New Zealand, arrived in Sydney in April 1835. There he worked as a professional artist, in the 1840s and 1850s producing lithographic views of the Sydney area to augment his income. In 1863 he was appointed Parliamentary Librarian, which secured his finances. The skills he had acquired aboard the Beagle helped to gain him commissions to depict the estates around Sydney. However, his admiration for Turner, and with this the desire to elevate landscape as a subject, prompted him to subordinate line to mood in a Romantic treatment of the landscape. His thoughts were clearly stated in a lecture on landscape painting given in 1856 at the Australian Library, Sydney (see Smith, 1975).

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