Ossian and Visual Art: Mislaid and Rediscovered

Murdo Macdonald

doi:10.1111/1754-0208.12391

Ossian and Visual Art: Mislaid and Rediscovered

Murdo Macdonald (Lead / Corresponding author)

Contemporary Art Practice

Research output: Contribution to journal › Article › peer-review

1 Citation (Scopus)

340 Downloads (Pure)

Abstract

This is an invited contribution to the special Ossian in the Twenty-first Century issue of the Journal for Eighteenth-Century Studies, edited by Sebastian Mitchell (Univ. of Birmingham).

Note is taken, for example, of Macdonald’s role in 2013 in identifying J M W Turner’s early Ossian work. Thanks to Macdonald’s work with the Cesarotti Project at the University of Padua, that identification is complemented by discussion of the substantial set of Ossian works by Luigi Zandomeneghi (pupil of Canova, sculptor of Tomb of Titian in Venice), a bound portfolio of 48 engravings, I Canti di Ossian, printed in Venice in 1817. It is noted that by drawing attention to the importance of Cesarotti’s Ossian translation of 1763 and its consequences, the University of Padua project has opened up new possibilities for research with respect to visual art and Ossian. One further line which is discussed is the reuse by Italian artists of a work attributed to the eighteenth-century Scottish artist, Alexander Runciman.

Original language	English
Article number	12391
Pages (from-to)	235-248
Number of pages	14
Journal	Journal for Eighteenth-Century Studies
Volume	39
Issue number	2
Early online date	18 May 2016
DOIs	https://doi.org/10.1111/1754-0208.12391
Publication status	Published - 1 Jun 2016

Keywords

Ossian
Cesarotti Project
Visual Art
Luigi Zandomeneghi
J M W Turner
Art
Celtic revival
Girodet
James Macpherson
Runciman
Zandomeneghi

ASJC Scopus subject areas

General Arts and Humanities

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10.1111/1754-0208.12391

Accepted author manuscript
This is the peer reviewed version of the following article: Macdonald, M. (2016) Ossian and Visual Art: Mislaid and Rediscovered. Journal for Eighteenth-Century Studies, 39: 235–248, which has been published in final form at http://dx.doi.org/10.1111/1754-0208.12391. This article may be used for non-commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving.
Accepted author manuscript, 233 KBLicence: Other

Cite this

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abstract = "This is an invited contribution to the special Ossian in the Twenty-first Century issue of the Journal for Eighteenth-Century Studies, edited by Sebastian Mitchell (Univ. of Birmingham).Note is taken, for example, of Macdonald{\textquoteright}s role in 2013 in identifying J M W Turner{\textquoteright}s early Ossian work. Thanks to Macdonald{\textquoteright}s work with the Cesarotti Project at the University of Padua, that identification is complemented by discussion of the substantial set of Ossian works by Luigi Zandomeneghi (pupil of Canova, sculptor of Tomb of Titian in Venice), a bound portfolio of 48 engravings, I Canti di Ossian, printed in Venice in 1817. It is noted that by drawing attention to the importance of Cesarotti{\textquoteright}s Ossian translation of 1763 and its consequences, the University of Padua project has opened up new possibilities for research with respect to visual art and Ossian. One further line which is discussed is the reuse by Italian artists of a work attributed to the eighteenth-century Scottish artist, Alexander Runciman.",

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Ossian and Visual Art: Mislaid and Rediscovered

Abstract

Keywords

ASJC Scopus subject areas

Access to Document

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Ossian: then and now

Ossian and art: Scotland into Europe via Rome

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