François-Nicolas Trip hammer

Biography

Born in 1731, Martinet has a training of engineer and draftsman. Engraving is initially a secondary profession, but its popularity pushes it to make its principal activity of it. Very quickly, it engraves the illustrations of birds for the works of most influential the Ornithologue S French of the 18th century. He collaborates in particular in the natural history of the birds of Buffon, by engraving 1 008 illustrations.

At the end of its career, Trip hammer, very tested in the engraving of the birds, publishes its own work of ornithology. He probably dies end of the year 1790 (the sources do not agree over the year of its death).

François-Nicolas Martinet owes the celebrity of his engravings with the realism which it brings to his birds. At the time, the illustrators did not respect the proportions in their drawings, making the identification of the birds possible only by experienced ornithologists.

The techniques of conservation of the birds were not very effective and the methods varied much: conservation in a liquid, heating of the animal in a very hot furnace or dive in varnish, implying a systematic modification of the coloring of the plumage. Consequently, by deteriorating the identity of the birds, Trip hammer, like good of others thereafter, reproduced them starting from subjects died, simply éviscérés and stuffed. But the infested bird of parasites was quickly broken up. This method however largely made progress the ornithological representation, giving the “alive one” to the subjects.

Trip hammer also took part in the Encyclopédie of Diderot and of Alembert, it contributed to 21 ornithological illustrations.

Its workshop provides Estampe S realized starting from drawings signed of itself and various artists, illustrating various subjects, festivals, ornithology, of which boards of birds ordered by Diderot for the Encyclopedia, of many books, Buffon, a Description of Paris; he is also the author of prints of architecture, landscapes, portraits of kind. Its career is particularly identified starting from 1756, moment when it is named engraver with the Cabinet of the King, function depending on the Service of Amusements and concerning the Maison of the King.

Starting from 1763 two of the four gentlemen of the Room of the King, the dukes of Richelieu and Duras receive the attribution of the spectacles. Under their orders, the intendants name artists, architect, sculptor, draftsman, engraver, such Gissey, Slotz, Challe, etc the service of amusements being charged with the organization of the spectacles of the court, the officialized artists are invited to follow the representations of the opera, the French and Italian actors, the theater of the St. Lawrence fair, installed in the room built by Monnet and decorated by Boucher, and this in order to choose the spectacles to be given to the sovereign in the years 1760-1770.

The idea comes to Martinet to publish continuations of engravings, according to Comédie S and light operas with success, almost all illustrating the Theater-Italian and the Théâtre of the fair of which certain parts submitted to the Court. It signs these prints as engraver or draftsman, sometimes both. Near him also work his/her two sisters, Marie-Therese and Angélique, like various artists, in particular Gravelot and Queverdo. Certain boards do not carry any signature, work of workshop whose personality of reference is Martinet. Towards 1780, it publishes twelve boards entitled Portraits of actors in their roles of theater drawn by Boquet, and seven parts in -12, Stage costumes, figures of theater and projects of costumes, which it engraves with the feature and colors with the Aquarelle. Installed street of the two Ports, he dies at the beginning of the Empire. (Perhaps at the beginning of the Consulate)

In 1792, one of its sons, Aaron (1762 - 1841) Marie and is established commercial prints street of the Cock Saint-Honore. It owes soon its celebrity with the caricatures exposed in her window, with the English mode. It opens also a reading room, which counts 7 with 8 000 volumes at the beginning of the French Restoration. It takes up the idea of his father to illustrate the most applauded scenes repertory with the actors in their costume. Initially carried out with the Etchings and colored, the boards gain a success which develops with the popularization of the less expensive lithographic techniques.

External bonds

Trip hammer on Gallica
Collection Trip hammer

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