من بين جميع لوحات David Martin، تُعد Self-portrait (1760) هي الأكثر شهرة؛ وهي معروضة في المعرض الوطني الاسكتلندي، إدنبرة. ويأتي في المرتبة التالية كل من David Martin, 1737 - 1797. Portrait painter (Self-portrait) (1760) و Alexander Udney, older brother to George (1757). من بين 38 من أعمال David Martin في كتالوجنا، تُعد هذه 37 الأعمال هي الأكثر شهرة، حيث نُعرض كل واحدة منها مع تاريخها، والمتحف الذي تنتمي إليه، وقصتها.
تُصنف الأعمال بناءً على درجة شعبيتنا، التي تجمع بين عمليات البحث والزيارات والطلبات لكل عمل فني. تم التحديث في أكتوبر 2026. يمكن طلب كل لوحة في هذه الصفحة كنسخة زيتية مرسومة يدوياً على قماش كتان، أو كطباعة فنية فاخرة بالمقاس الذي تختاره.
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.
المواضيع الأربعة الأكثر تكراراً في هذه اللوحات، مع تقديم أفضل الأمثلة لكل منها.
المتاحف الـ 6 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال David Martin | لوحات من هذه القائمة |
|---|---|---|---|
 Scottish National Portrait Gallery |
إدنبرة | 15 | David Martin, 1737 - 1797. Portrait painter (Self-portrait), Alexander Udney, older brother to George, Rev. Robert Henry, 1718 - 1790. Historian |
 المعرض الوطني الاسكتلندي |
إدنبرة | 3 | Self-portrait, Lilias Seton, Lady Steuart of Allanton (died 1821), Mary Martin, Mrs Alexander Gowan (1716 - 1795) |
 أكاديمية بنسلفانيا للفنون الجميلة |
فيلادلفيا | 1 | Benjamin Franklin |
 Balliol College |
أكسفورد | 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) | |
 المعرض الوطني للصور |
لندن | 1 | Sir Hector Munro |
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…
Self-portrait (1760)، المعرض الوطني الاسكتلندي, إدنبرة. يليهما David Martin, 1737 - 1797. Portrait painter (Self-portrait) (1760) وAlexander Udney, older brother to George (1757).
ولد David Martin في 1737 وكان عمره 23 عاماً: يعود تاريخ Self-portrait إلى 1760.
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) و Charles Dillon-Lee, 12th Viscount Dillon of Costello-Gallin KP, FRS, MP (1745-1813). ترفق مع كل لوحة في التصنيف أعلاه سنة رسمها والمتحف الذي تنتمي إليه.
يوجد في كتالوجنا 38 من أعمال David Martin، وتتراوح تواريخها من 1757 إلى 1794.
توجد معظمها في Scottish National Portrait Gallery (إدنبرة), المعرض الوطني الاسكتلندي (إدنبرة) و أكاديمية بنسلفانيا للفنون الجميلة (فيلادلفيا)؛ وتدرج القائمة أعلاه كل متحف ولوحاته.
في 1770s، التي قدمت 8 من أصل 37 من الأعمال في هذه الصفحة، كان هناك Rev. Robert Henry, 1718 - 1790. Historian من بينها.
أقدم لوحة قماشية هنا هي Alexander Udney, older brother to George (1757)؛ وأحدثها هي Henry Home, Lord Kames, 1696 - 1782. Scottish judge and author (1794).
يضم Scottish National Portrait Gallery, إدنبرة عدد 15 من الأعمال المعروضة في هذه الصفحة، من بينها David Martin, 1737 - 1797. Portrait painter (Self-portrait), Alexander Udney, older brother to George و Rev. Robert Henry, 1718 - 1790. Historian.
نعم. يمكن طلب كل لوحة في هذه الصفحة من صفحتها الخاصة، سواء كنسخة زيتية مرسومة يدوياً، أو كمطبوعة فنية فاخرة، وذلك بالمقاس الذي تختارونه.
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.
