Category: 0 Archive

Arts Minister Michael Ellis has placed a temporary export bar on The Destruction of Pharaoh’s Host, by the British artist John Martin (1789-1854), to provide an opportunity to keep it in the country.

The watercolour is at risk of being exported from the UK unless a buyer can be found to match the asking price of £1,509,102.

The drawing illustrates the Biblical story (Exodus 14) of Moses releasing the waters of the Red Sea, after they had miraculously parted to allow the fleeing Israelites to cross, thereby drowning the pursuing Egyptian army.

Employing a panoramic composition to magnificent effect, Martin plays with the scale of the figures and the scenery to maximise the epic nature of the drama. The emotional force of this scene of deliverance and retribution is heightened by a blood red sunset below a sweeping black sky.

Although Martin is best known for his spectacular oil paintings and mezzotints (a tonal print technique that was ideally suited to capturing his bold use of light and shade for dramatic effect) illustrating John Milton’s Paradise Lost and the Bible, he also created a series of framed ‘exhibition watercolours’, which in scale and visual impact were intended to compete for attention and patronage with oil paintings.

Martin’s mezzotints of Biblical subjects, such as The Destruction of Pharaoh’s Host published in 1833, were hugely popular and influential with admirers including Charles Dickens and the Bronte sisters who grew up with them on the walls of their father’s parsonage.

Martin’s large-scale watercolour treatment of the same subject from three years later was intended to capitalise on his popular success, and The Destruction of Pharoah’s Host demonstrates his bold use of the medium in the eye-catching brightness of the colours, with the tonal range expanded through extensive use of black pigment, bodycolour, and gum arabic.

Martin’s artistic reputation did not endure – despite the influence he played in shaping the epic scale and grandeur of Biblical and historical epics in films by directors like Cecil B. DeMille – as his standing suffered from the disapproval of the art critic John Ruskin and the artist’s focus later in his life shifted to planning ambitious engineering schemes to deliver clean water and an efficient sewage system to London.

The subsequent and enduring shift in taste away from the use of watercolour for grandiose narrative subjects, allied to a longstanding critical downplaying of the significance of the medium to British art, meant that Martin’s stature as a watercolourist was long overlooked, until interest in his work began to revive in the early 1950s.

Martin’s importance is now more widely recognised and celebrated, and the ambition, boldness and grandeur of The Destruction of Pharoah’s Host exemplifies his unique contribution to British watercolour history.

Arts Minister Michael Ellis said:

This incredibly dramatic picture captures the imaginative and apocalyptic subjects for which Martin is best known.

I hope it can remain in the UK, where it can be admired and studied for many years to come.

The decision to defer the export licence follows a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA), administered by The Arts Council.

RCEWA member Lowell Libson said:

Working in watercolour played a significant part in Martin’s art throughout his career although he is now best remembered for his exhibition works in oil. The Destruction of Pharaoh’s Host not only demonstrates Martin’s mastery of the medium but underlines how he employed it to achieve emotional and dramatic effects of a subtlety which were impossible in his larger scale oil paintings. The Destruction of Pharaoh’s Host numbers amongst the greatest of Martin’s watercolours.

The RCEWA made its recommendation on the grounds of the picture’s outstanding significance in the reassessment of John Martin – the most popular artist of his day, dismissed by the art establishment and ignored for almost a century – whose influence on the development of epic, visionary landscape painting, both in Britain and in America, is now widely acknowledged.

The decision on the export licence application for the picture will be deferred until 21 May. This may be extended until 21 September if a serious intention to raise funds to purchase it is made at the recommended price of £1,509,102.

Organisations or individuals interested in purchasing the picture should contact the RCEWA on 0845 300 6200.

An image of the picture can be downloaded via our flickr site.

ENDS

Notes to editors

1. Details of the picture are as follows:
   Watercolour by John Martin (1789-1854), The Destruction of Pharaoh’s Host, signed and dated: ‘J. Martin/1836’ (lower right). Pencil and watercolour with gum arabic heightened with body colour and with scratching out; 23 x 33 ¾ in. (584 x 857 mm).
2. Provenance: (Probably) J.E. Jesse, by 1876; with Agnew’s, London; with Leger & Son, London, by September 1954, sold in or after 1958 to George Goyder; Sotheby’s, London, 11 July 1991, lot 192, where purchased by private owner (sold for world auction record price for watercolour by this artist £107,800); Christie’s, London, 3 July 2012, lot 139 (est. £300,000-500,000, sold for £758,050, also world auction record).
3. The Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest is an independent body, serviced by The Arts Council, which advises the Secretary of State for Digital, Culture, Media and Sport on whether a cultural object, intended for export, is of national importance under specified criteria.
4. The Arts Council champions, develops and invests in artistic and cultural experiences that enrich people’s lives. It supports a range of activities across the arts, museums and libraries – from theatre to digital art, reading to dance, music to literature, and crafts to collections. www.artscouncil.org.uk.

Theresa May has hosted a Chinese New Year reception at Downing Street to celebrate the enormous contribution of the Chinese community to British life and a ‘Golden Era’ for UK-China relations.

On Wednesday (21 February) the Prime Minister welcomed a number of Chinese students in Britain who are involved in higher education and language learning exchanges. She highlighted the academic achievements of the community and the talent they bring to our educational institutions, and pointed to the huge learning benefits to both countries through partnerships such as the UK-China mathematics teacher exchange, which has been extended for a further two years to 2020.

Building on her recent trip to China alongside 50 businesses and organisations from across the country, the Prime Minister also welcomed guests from a range of sectors with trade links to China.

British nursery provider Busy Bees, who secured a significant early years education deal with the Oriental Cambridge Education Group during the Prime Minister’s visit to China, were also in attendance. The partnership between these two businesses will generate £75m in exports in the next five years and deploy 20 British teachers to China each year.

Andrew Wong, Head Chef and owner of Michelin star restaurant A. Wong in London’s Victoria, was the guest chef for the reception.

The Prime Minister also presented James Wong, Chair of the Birmingham Chinese Festival Committee, with a Point of Light Award in recognition of his inspiring work to attract thousands of visitors to the city, creating the UK’s largest Chinese New Year festival. His restaurant also gives hundreds of free meals to elderly people in the local community.

Prime Minister Theresa May said:

It was great to welcome people from all parts of the United Kingdom to Downing Street to celebrate Chinese New Year, the vibrancy of the Chinese community in Britain, and the deepening ties between our two countries.
I was delighted to take a 50-strong business delegation with me on my recent trip to China, and found a real enthusiasm for the links between us and the opportunities we share.

But the ties that bind our country are of course about more than just business – they’re about people.

James Wong’s huge contribution to life in Birmingham is one shining example of someone who has helped broaden and deepen our cultural ties and I was pleased to award him a Point of Light.

I would like to extend my best wishes to everyone celebrating this special day, as we mark the Year of the Dog and a golden era of UK-China relations.

James Wong, Chair of Birmingham Chinese Festival Committee, said:

I’m fiercely passionate about raising awareness of Chinese culture and supporting the Chinese community.

Birmingham is a fantastic, multicultural city that endorses diversity and I feel fortunate to have had the backing of so many wonderful friends and colleagues on the ‘Chinese Festival Committee’ and beyond. I look forward to seeing our great city continue to work closely and hopefully welcome more investment from China in years to come.

Andrew Wong, Head Chef at A. Wong and guest chef at the reception, said:

Chinese New Year is the biggest celebration for my family and for the whole of China, and it’s a time of year where family time is truly celebrated.

It’s wonderful that Downing Street takes the time out to celebrate this event and to celebrate the diversity of London – and obviously the Chinese community is a big part of that diversity.