David Martin의 모든 작품 중 Self-portrait (1760)이(가) 가장 유명하며, 에든버러에 위치한 스코틀랜드 국립 미술관에 전시되어 있습니다. 그 뒤를 이어 David Martin, 1737 - 1797. Portrait painter (Self-portrait) (1760)와(과) Alexander Udney, older brother to George (1757)가 뒤를 이었습니다. 우리 카탈로그에 수록된 David Martin의 작품 38점 중 가장 찬사받는 37점을 소개합니다. 각 작품은 제작 연도, 소장 미술관 및 작품에 얽힌 이야기를 함께 보여줍니다.
각 작품의 검색, 방문 및 주문 수를 결합한 인기 점수를 기준으로 순위를 매깁니다. 10월 2026 업데이트됨. 이 페이지의 모든 작품은 린넨 캔버스에 수작업으로 제작된 유화 복제화 또는 원하는 크기로 제작 가능한 파인 아트 프린트로 주문하실 수 있습니다.
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.
이 캔버스들에서 가장 자주 등장하는 네 가지 주제와 각 주제를 대표하는 명작들.
이 페이지에 있는 작품을 가장 많이 소장하고 있는 6개의 미술관
| 소장 미술관 | 도시 | David Martin의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 스코틀랜드 국립 초상화 갤러리 |
Edinburgh | 15 | David Martin, 1737 - 1797. Portrait painter (Self-portrait), Alexander Udney, older brother to George, Rev. Robert Henry, 1718 - 1790. Historian |
 스코틀랜드 국립 미술관 |
에든버러 | 3 | Self-portrait, Lilias Seton, Lady Steuart of Allanton (died 1821), Mary Martin, Mrs Alexander Gowan (1716 - 1795) |
 Pennsylvania Academy of Fine Arts |
필라델피아 | 1 | Benjamin Franklin |
 Balliol College |
옥스퍼드 | 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 |
런던 | 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), 스코틀랜드 국립 미술관, 에든버러. 다음은 David Martin, 1737 - 1797. Portrait painter (Self-portrait) (1760)와 Alexander Udney, older brother to George (1757)입니다.
1737년에 태어난 David Martin은(는) 23세였으며, Self-portrait은(는) 1760년의 작품입니다.
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) 및 Charles Dillon-Lee, 12th Viscount Dillon of Costello-Gallin KP, FRS, MP (1745-1813). 위 랭킹의 각 캔버스 작품에는 제작 연도와 소장 미술관 정보가 포함되어 있습니다.
1757부터 1794까지 제작된 David Martin의 작품 38점이 카탈로그에 등록되어 있습니다.
대부분 스코틀랜드 국립 초상화 갤러리 (Edinburgh), 스코틀랜드 국립 미술관 (에든버러) 및 Pennsylvania Academy of Fine Arts (필라델피아)에 소장되어 있습니다. 위 목록은 각 미술관과 해당 미술관의 작품 목록을 나타냅니다.
이 페이지의 총 37점의 작품 중 8점이 1770s에 제작되었으며, 그중 Rev. Robert Henry, 1718 - 1790. Historian입니다.
이 페이지에서 가장 오래된 캔버스는 Alexander Udney, older brother to George (1757)이며, 가장 최근의 것은 Henry Home, Lord Kames, 1696 - 1782. Scottish judge and author (1794)입니다.
스코틀랜드 국립 초상화 갤러리, Edinburgh은 이 페이지에 있는 작품 중 15점을 소장하고 있으며, 그중에는 David Martin, 1737 - 1797. Portrait painter (Self-portrait), Alexander Udney, older brother to George 및 Rev. Robert Henry, 1718 - 1790. Historian이(가) 포함되어 있습니다.
네, 이 페이지에 있는 모든 작품은 각 작품의 상세 페이지에서 원하시는 크기의 수작업 유화 복제화 또는 파인 아트 프린트로 주문하실 수 있습니다.
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.
