The Martyrs – A Futurist’s Funeral Going Round a Corner
A hand-painted replica of Herbert Crowley’s masterpiece The Martyrs – A Futurist’s Funeral Going Round a Corner, meticulously crafted by professional artists to capture the true essence of the original. Each piece is created with museum-quality canvas and rare mineral pigments, carefully painted by experienced artists with delicate brushstrokes and rich, layered colors to perfectly recreate the texture of the original artwork. Unlike machine-printed reproductions, this hand-painted version brings the painting to life, infused with the artist’s emotions and skill in every stroke. Whether for personal collection or home decoration, it instantly elevates the artistic atmosphere of any space.
Herbert Crowley was a British artist and illustrator active in the early 20th century, known for his contributions to the burgeoning modern art movements of his time. One of his notable works is The Martyrs – A Futurist’s Funeral Going Round a Corner. This artwork, created in 1913, reflects Crowley's engagement with avant-garde artistic trends, particularly Futurism, which emphasized movement, energy, and the dynamism of modern life.
The Martyrs – A Futurist’s Funeral Going Round a Corner was exhibited at the Armory Show in New York City in 1913, a landmark event that introduced modern European art to an American audience. The Armory Show featured works by prominent artists such as Marcel Duchamp, Pablo Picasso, and Wassily Kandinsky, and it played a significant role in shaping the trajectory of modern art in the United States. Crowley's inclusion in this exhibition placed him among the vanguard of artists exploring new forms and ideas.
The painting itself is characterized by its abstract and dynamic composition, which aligns with the principles of Futurism. Futurism, an Italian-born movement, sought to capture the essence of speed, technology, and the industrial age. While Crowley was not formally affiliated with the Futurist movement, his work in this piece demonstrates an affinity for its themes and visual language. The title of the painting suggests a narrative element, with the concept of a "Futurist’s Funeral" evoking a blend of modernity and ritual, while the phrase "Going Round a Corner" implies motion and transformation.
Despite the significance of this work, Herbert Crowley remains a relatively obscure figure in art history. Much of his career and output have been overshadowed by his contemporaries, and only a limited amount of information about his life and artistic practice is available. After the Armory Show, Crowley largely faded from the public eye, and his contributions to modern art have only recently begun to receive renewed attention.
Today, The Martyrs – A Futurist’s Funeral Going Round a Corner is recognized as an example of the experimental spirit of early 20th-century art. It serves as a testament to Crowley's engagement with the artistic innovations of his time, even as his broader legacy remains underexplored.
