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În ochii galeriei, cea mai celebră pictură a lui David Martin este Self-portrait (1760), a cărei originală este expusă la Scottish National Gallery, Edinburgh. David Martin, 1737 - 1797. Portrait painter (Self-portrait) (1760) și Alexander Udney, older brother to George (1757) completează trioul pe care orice ochi îl recunoaște. Dintre cele 38 opere ale lui David Martin din catalogul nostru, galeria prezintă mai jos cele 37 cele mai faimoase, fiecare fiind originală, cu anul creării, muzeul de păstrare și elementul care o face unică.
The oil on canvas titled Self-portrait presents the artist David Martin as his own subject. Painted about 1760, the work captures a youthful version of the man who would become a prominent figure in Scottish portraiture. The image serves as a direct encounter between the painter and the viewer, fixed in the medium of oil.
Sir Hector Munro1785 · National Portrait Gallery
12
William Murray, 1st Earl of Mansfield, 1705 - 1793. Lord Chief Justice1777
13
Willielma Campbell, Viscountess Glenorchy, 1741 - 1786. Religious enthusiast and benefactor of the Society for Promoting Christian Knowledge1780 · Galeria Națională a Scottei
14
Parrot, from 'Histoire Naturelle des Oiseaux' by Georges de Buffon published1777
15
Lilias Seton, Lady Steuart of Allanton (died 1821)1789 · Scottish National Gallery
16
Henry Home, Lord Kames, 1696 - 1782. Scottish judge and author1794 · Galeria Națională a Scottei
17
Alexander Murray, Lord Henderland, 1736 - 17951787 · Galeria Națională a Scottei
18
William Abernethy Drummond, 1719 / 1720 - 1809. Bishop of Edinburgh1788 · Galeria Națională a Scottei
19
Mary Barbara Drummond, Mrs William Abernethy Drummond, 1721 / 1722 - 1789. Wife of the Bishop of Edinburgh1788 · Galeria Națională a Scottei
20
Captain Patrick Hunter1786
21
Mary Martin, Mrs Alexander Gowan (1716 - 1795)Scottish National Gallery
22
Rev. Alexander Webster, 1707 - 1784. Moderator of the General AssemblyGaleria Națională a Scottei
23
Thomas Hay, 9th Earl of Kinnoull, 1710 - 1787. StatesmanGaleria Națională a Scottei
24
John Hume of Ninewells, 1709 - 1786. Brother of David HumeGaleria Națională a Scottei
25
Mary Knox, Mrs Andrew Duncan, d. 1839. Wife of Andrew Duncan, the physicianGaleria Națională a Scottei
26
Hoopoe Starling
27
Oye De Guinée
28
Peruche de Gingi
29
Ara Rouge
30
Psittacula Eques
31
Mascarinus
32
Ara Guadeloupensis
33
Reunion Parakeet
34
Cuban Macaw
35
White-headed Munia, Double Coloured Seed Eater And Violet Eared Waxbill
36
Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray1778
37
Portrait of Benjamin Franklin1767
Cele patru teme care revin cel mai des în aceste opere originale, fiecare având cel mai sublim exemplu.
Cele 6 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzee | Oraș | Lucrări lui David Martin | Picturi din această listă |
|---|---|---|---|
 Galeria Națională a Scottei |
Edinburgh | 15 | David Martin, 1737 - 1797. Portrait painter (Self-portrait), Alexander Udney, older brother to George, Rev. Robert Henry, 1718 - 1790. Historian |
 Scottish National Gallery |
Edinburgh | 3 | Self-portrait, Lilias Seton, Lady Steuart of Allanton (died 1821), Mary Martin, Mrs Alexander Gowan (1716 - 1795) |
 Pennsylvania Academy of Fine Arts |
Philadelphia | 1 | Benjamin Franklin |
 Balliol College |
Oxford | 1 | Henry Bathurst (1714–1794), 2nd Earl Bathurst, Fellow Commoner (1730), Lord Chancellor (1771–1778) |
 Basildon Park |
1 | Charles Dillon-Lee, 12th Viscount Dillon of Costello-Gallin KP, FRS, MP (1745-1813) | |
 National Portrait Gallery |
Londra | 1 | Sir Hector Munro |
Alege o deceniu pentru a descoperi opera originală care îl definește.
The oil on canvas titled Self-portrait presents the artist David Martin as his own subject. Painted about 1760, the work captures a youthful version of the man who would become a prominent figure in Scottish portraiture. The image serves as a direct encounter between the painter and the viewer, fixed in the medium of oil.
Self-portrait (1760), Scottish National Gallery, Edinburgh. Urmează David Martin, 1737 - 1797. Portrait painter (Self-portrait) (1760) și Alexander Udney, older brother to George (1757).
23 ani: Self-portrait datează din 1760, iar David Martin s-a născut în 1737.
Self-portrait, David Martin, 1737 - 1797. Portrait painter (Self-portrait), Alexander Udney, older brother to George, Rev. Robert Henry, 1718 - 1790. Historian, Elizabeth Rannie, Viscountess Melville, 1751 - 1843. Wife of 1st Viscount Melville., Henry Dundas, 1st Viscount Melville, 1742 - 1811. Statesman, James Russell, d. 1773. Professor of Natural Philosophy at Edinburgh) University (With his son James Russell, 1754 - 1836. President of the Royal College of Surgeons of Edinburgh), Benjamin Franklin, Henry Bathurst (1714–1794), 2nd Earl Bathurst, Fellow Commoner (1730), Lord Chancellor (1771–1778) și Charles Dillon-Lee, 12th Viscount Dillon of Costello-Gallin KP, FRS, MP (1745-1813). Clasamentul de mai sus indică anul și muzeul pentru fiecare piesă.
Catalogul nostru cuprinde 38 lucrări ale lui David Martin, datate între 1757 și 1794.
În principal în Galeria Națională a Scottei (Edinburgh), Scottish National Gallery (Edinburgh) și Pennsylvania Academy of Fine Arts (Philadelphia). Tabelul cu muzee de mai sus le enumeră pe toate.
În 1770s: 8 dintre cele 37 lucrări de pe această pagină au fost realizate atunci, fiind Rev. Robert Henry, 1718 - 1790. Historian dintre acestea.
Pe această pagină, cea mai veche lucrare datează din Alexander Udney, older brother to George (1757), iar cea mai recentă este din Henry Home, Lord Kames, 1696 - 1782. Scottish judge and author (1794).
David Martin, 1737 - 1797. Portrait painter (Self-portrait), Alexander Udney, older brother to George și Rev. Robert Henry, 1718 - 1790. Historian: Galeria Națională a Scottei, Edinburgh deține 15 dintre lucrările de pe această pagină.
François Nicolas Martinet, a name perhaps less familiar than those of his contemporaries in 18th-century French art, nevertheless holds a profound and quietly significant place within the history of ornithological illustration. Born in Paris around 1731, Martinet’s journey wasn't one of grand artistic ambition initially; he began his career as an engineer and draftsman, skills honed within the meticulous framework of the Royal Workshops. Yet, it was through his engagement with the burgeoning field of natural history that he discovered his true calling – capturing the exquisite detail and vibrant beauty of birds in a way that transcended mere documentation.
His early life remains somewhat shrouded in obscurity, details scarce beyond his formal training. However, around 1756, Martinet transitioned into engraving for the King’s cabinet, a position that provided him with access to influential figures and projects within the scientific community. This shift marked a turning point, as he began dedicating himself increasingly to producing illustrations for books – specifically, those focused on the natural world. His son, Alexandre, would later assist him in this endeavor, continuing the legacy of meticulous detail and artistic observation.
What distinguishes Martinet’s work is not simply his technical proficiency – though he was undoubtedly a skilled engraver – but rather his remarkable ability to imbue his bird illustrations with a sense of life. Prior to his time, many attempts at depicting birds in books were hampered by the limitations of the printing process and a lack of understanding of avian anatomy. Early engravings often resulted in distorted proportions, awkward poses, and an overall impression of stiffness. Martinet recognized this deficiency and painstakingly developed a method that prioritized accurate observation and realistic representation.
He meticulously studied birds in their natural habitats, paying close attention to their movements, plumage variations, and subtle behavioral cues. This dedication translated directly into his engravings, which are characterized by an astonishing level of detail – from the intricate patterns on feathers to the delicate structure of beaks and talons. Martinet’s illustrations weren't merely static representations; they conveyed a sense of dynamism and immediacy, as if capturing a fleeting moment in a bird’s life. His use of light and shadow further enhanced this effect, creating depth and volume within each image.
Martinet's most significant contribution to the world of ornithological illustration came through his extensive work with Georges-Louis Leclerc, Comte de Buffon, a leading French naturalist and encyclopedist. For Buffon’s monumental *Histoire Naturelle des Oiseaux* (Natural History of Birds), Martinet produced over 1000 engravings – a staggering number that underscored the scale and ambition of Buffon's project.
His work extended beyond Buffon’s encyclopedia, contributing illustrations to other important natural history publications, including those by Mathurin Jacques Brisson. These collaborations cemented Martinet’s reputation as a leading ornithological artist and ensured that his images would reach a wide audience of scholars, collectors, and enthusiasts.
Notable Works:François Nicolas Martinet's legacy extends far beyond his individual illustrations. He played a crucial role in shaping the visual representation of birds during a period when scientific illustration was still evolving. His commitment to accuracy, combined with his artistic sensibility, set a new standard for ornithological art – one that continues to inspire artists and researchers today.
His work is particularly significant because it demonstrates how observation, meticulous study, and technical skill can be combined to create images that are both scientifically informative and aesthetically compelling. Martinet’s legacy lies not only in the beauty of his illustrations but also in their contribution to our understanding of the natural world.
