All Conrad Martens's oil paintings
ID Image  Oil Pantings, Sorted from A to Z     Other Information
42099 Aboriginal camp site Aboriginal camp site mk167 c.1840 Watercolor
42098 Australian Landscape with cattle and a stockman at a creek Australian Landscape with cattle and a stockman at a creek mk167 1839 oil
33099 Cloud study Cloud study mk82 c.1850
33100 Cloud study Cloud study mk82 c.1850
33192 Cloud Study Cloud Study mk82 c.1850 watercolour 16.2x23.7
42096 Coastal Scene near Exmouth Coastal Scene near Exmouth mk167 1829 Watercolor
42097 Rio Santa Cruz Rio Santa Cruz mk167 Watercolour
32731 Sydney from the North Shore Sydney from the North Shore mk80 1863 Watercolour,gouache and gum arabic over traces of pencil 44.9x64.4cm
28003 Sydney Harbour Looking Towards the North End Sydney Harbour Looking Towards the North End c 1836 Watercolour 44.5 x 63.5cm (17 1/2 x 25in) Private collection (mk63)
32730 View from Sandy Bay View from Sandy Bay mk80 1836 Watercolour 45x65.4cm
42100 View of Sydney from St Leonards View of Sydney from St Leonards mk167 1842 Lithograph hand-coloured
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). . Related Artists to : | MEYTENS, Martin van | Gillis Mostraert | Nesterov, Mikhail | Stanislaw Ignacy Witkiewicz | Bartolomeo Passerotti |