Av alla David Martins målningar är Self-portrait (1760) den mest kända; den hänger på Scottish National Gallery i Edinburgh. Tätt följs de av David Martin, 1737 - 1797. Portrait painter (Self-portrait) (1760) och Alexander Udney, older brother to George (1757). Bland de 38 verk av David Martin i vår katalog är dessa 37 de mest hyllade, var och en presenterad med sitt datum, sitt museum och sin historia.
Rankade efter vår popularitetspoäng, som kombinerar sökningar, besök och beställningar för varje verk. Uppdaterad oktober 2026. Varje målning på denna sida kan beställas som en handmålad oljereproduktion på linnecanvas, eller som ett konsttryck i den storlek du väljer.
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.
De fyra motiv som oftast återkommer på dessa dukar, var och en med sitt mest älskade exempel.
De 6 museer som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av David Martin | Målningar från denna lista |
|---|---|---|---|
 Scottish National Portrait Gallery |
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 |
London | 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), Scottish National Gallery, Edinburgh. David Martin, 1737 - 1797. Portrait painter (Self-portrait) (1760) och Alexander Udney, older brother to George (1757) följer.
David Martin, född 1737, var 23 år gammal: Self-portrait är från 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) och Charles Dillon-Lee, 12th Viscount Dillon of Costello-Gallin KP, FRS, MP (1745-1813). Varje duk i rankningen ovan anges med sitt årtal och sitt museum.
38 verk av David Martin finns i vår katalog, daterade 1757 till 1794.
Främst i Scottish National Portrait Gallery (Edinburgh), Scottish National Gallery (Edinburgh) och Pennsylvania Academy of Fine Arts (Philadelphia); listan ovan listar varje museum och dess målningar.
Under 1770s, som utgör 8 av de 37 verk som finns på denna sida, varav Rev. Robert Henry, 1718 - 1790. Historian av dem.
Den tidigaste duken här är Alexander Udney, older brother to George (1757); den senaste är Henry Home, Lord Kames, 1696 - 1782. Scottish judge and author (1794).
Scottish National Portrait Gallery, Edinburgh har 15 av verken på denna sida, bland annat David Martin, 1737 - 1797. Portrait painter (Self-portrait), Alexander Udney, older brother to George och Rev. Robert Henry, 1718 - 1790. Historian.
Ja. Varje målning på denna sida kan beställas från sin egen sida som en handmålad oljereproduktion, eller som ett konsttryck i den storlek du väljer.
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.
