From BUCHAN, Ca June 1786 from BUCHAN, Ca Saturday 10 June

Total Page:16

File Type:pdf, Size:1020Kb

From BUCHAN, Ca June 1786 from BUCHAN, Ca Saturday 10 June FROM BUCHAN CA JUNE 1786 189 From BUCHAN, ca June 1786 Missing. From BUCHAN, ca Saturday 10 June 1786 Missing. To BUCHAN, Saturday 17 June 1786 Printed from photostat of Add. MS 21555, foi. 15-16. Previously printed, Cun­ ningham ix. 53-4; Toynbee xiii. 384-6. For history of MS see ante 24 Dec. 1778. Address: To the Earl of Buchan at Edinburgh. Postmarks: ISLEWORTH. 19 JU. JU 23. Notes by Buchan: Horace Walpole.—I had recommend[ed] Mr John Brown,1 that accomplished and amiable youth, to Lord Orford's attentions and those of Mr Joseph Townly.2—Mr Townly employed him in drawing from his antique stat­ ues, for which he was the most capable of any man in Europe of his time.—His Homer and Pope I believe were the only pieces engraved, and those by Bartolozzi.3 I have given a sketch of Brown and Runciman4 in Anderson's Bee.s They mutually painted a conversation portrait of themselves for Dryb[urgh] Abbey.6 1. John Brown (1752-87), miniaturist Hans W. Singer, Allgemeiner Bildniskata- and draughtsman, was born in Edinburgh, log, Leipzig, 1930-6, vi. 65; Charles Le where he studied under Alexander Runci- Blanc, Manuel de I'Amateur d'Estampes, man. After ten years in Italy he returned 1854-^90], i. 501; BM Cat. of Engraved to Scotland, but removed to London the British Portraits iii. 490). year before his death. In 1789 Lord Mon­ 4. Alexander Runciman (1736-85), Scot­ boddo published Letters Upon the Poetry tish painter, chiefly noted for a series of and Music of the Italian Opera . By ceiling-paintings at Penicuik House of the Late Mr John Brown, Painter (Samuel scenes from Ossian, which were destroyed Redgrave, A Dictionary of Artists of theby fire in 1899 (Catalogue, National Gal­ English School, 1878; European Magazine lery of Scotland, Edinburgh, 1946, pp. Feb. 1790, xvii. 91-2; James L. Caw, Scot­ 305-6). tish Painting, Edinburgh, 1908, p. 44). 5. In the issue for 8 May 1793 (xv. 27-31). 2. Properly Charles Townley (or Towne­ Runciman is mentioned only briefly. ley) (1737-1805), collector of antiquities. 6. Painted 1784. '[Brown's] portrait with His marbles and terra-cottas were pur­ Runciman disputing about a passage in chased by the BM after his death. Shakespeare's Tempest is in the gallery at 3. Francesco Bartolozzi (1727-1815), Dryburgh Abbey' (ibid. 31). 'This picture Florentine painter and engraver who [of Brown and Runciman], which was be­ worked mainly in England. These engrav­ queathed to the Scottish Society of An­ ings after Brown's drawings, however, were tiquaries by David Laing, is said to have not made by Bartolozzi, but by his pupil, been the joint work of the artists, but Marino (or Mariano) Bovi (l'j^-post there is no trace of Brown's hand in it. It 1805). The drawing of Homer was taken is signed by Runciman alone, and Brown's from an antique bust owned by Townley, share was probably drawing Runciman's and that of Pope from a bust by Rysbrack portrait, the painting being entirely by the (European Magazine, Feb. 1790, xvii. 92; latter' (James L. Caw, Scottish Painting, .
Recommended publications
  • Hunterian Impact Report 2012
    Impact Report 2012 Introduction 2012 has been a year of quite considerable The pace of this programme of activity and achievement for The Hunterian in terms of its academic development is relentless but hugely rewarding. and public engagement. Amongst our triumphs we Perhaps most significantly, our University has should mention the renewal and expanded hang recognised The Hunterian as being not only core of the Hunterian Art Gallery and the opening of our business in respect of its contribution to the University’s special exhibition Rembrandt and the Passion, both lead objectives for excellence in research, an to widespread critical acclaim; the publication of the excellent student experience and for helping to extend Antonine Wall Hunterian Treasures volume and of our institution’s global reach and reputation, but it Director’s Choice: The Hunterian; the strengthening of also points to the role of The Hunterian in our collections through a series of major new strengthening the University of Glasgow’s ability to acquisitions; the development of our international transform Scotland through its research, teaching, partnerships through collections exchange and joint outreach and cultural activities in the publication research activity; the launch of a new Hunterian brand University of Glasgow: Enriching Scotland. identity and significantly enhanced investment in Hunterian street presence; and the further expansion I would argue that the progress we have made in of our highly popular student engagement developing our strategy as a leading UK academic programme including the showcasing of the work of museum service, in the new campus-wide partnerships our first cohort of post-graduate Hunterian we have created, in our improved student offer and Associates, to name but a few.
    [Show full text]
  • CHERRYBURN TIMES the Journal of the Bewick Society
    Volume 5 Number 6 Summer 2009 CHERRYBURN TIMES The Journal of The Bewick Society Thomas Bewick in Scotland by Peter Quinn Alexander Nasmyth: Edinburgh seen from Calton Hill, 1825. Bewick visited Scotland on two occasions: 1776 and 1823. to a life spent mainly on Tyneside. However, these visits It is often assumed that the early visit gave Bewick a life-long introduce us to a world and set of concerns which Bewick enthusiasm for Scotland and all things Scottish and that in shared with Scots throughout his life, pre-dating even his first later years he made a sentimental journey northwards. Later great walk northwards. biographers have often thought the 1776 trip insignificant. In 1776 Bewick was 23 years old; in 1823 he arrived in David Croal Thomson, for instance: Edinburgh on his 70th birthday. He provides accounts of It is not necessary to follow Bewick in this excursion, which each trip in the Memoir: Chapter 6 dealing with 1776 was he details in his writings as the experience gained by it in an composed during his spell of writing confined at home with artistic way is inconsiderable. an attack of the gout: 29 May–24 June 1823. He visited Edin- Occurring at the beginning and end of Bewick’s career there burgh in August 1823, writing an account of the trip during is a temptation to simply contrast the two visits, emphasis- his last writing effort between 1824 and January 1827. ing the change that time, circumstance and fame had brought. We left Edinburgh on the 23rd of Augt 1823 & I think I shall The visits have been seen as two great Caledonian book ends see Scotland no more… ‘The Cadger’s Trot’: Thomas Bewick’s only lithograph, drawn on the stone in Edinburgh in 1823.
    [Show full text]
  • Duncan Macmillan James Macpherson's Fragments of Ancient
    Duncan Macmillan: Introduction 5 INTRODUCT I ON Duncan Macmillan James MacPherson’s Fragments of Ancient Poetry was published in 1760. Within the year, we learn from Howard Gaskill, it was translated into French by Diderot himself.1 In the two and a half centuries that have passed since then, the work has been translated into practically every literary language under the sun and it is likely that, somewhere, it has always been in print. That would be a remarkable bibliographic history for any book, but for a work whose exact nature was a matter of controversy from the day it was published and which has been routinely debunked as a fraud, it is truly extraordinary; nor does Ossian’s topicality seem to be fading even now in this post-modern era. On the contrary, the occasion for the conference whose transactions are recorded in this volume was the exhibition at the UNESCO building in Paris of Calum Colvin’s remarkable series of images, Ossian, Fragments of Ancient Poetry. It is a title which invokes MacPherson directly and the work itself is a striking witness to his enduring topicality. Among the essays below, the artist has contributed an illuminating commentary on his own work, backed by Tom Normand’s contribution which further examines it in the context of the photographic image and its role in the preservation, generation and perhaps even the creation of memory. Ossian, too, is in part at least a created memory. That analogy with an art form not invented till forty years after MacPherson’s death is typical of the way in which, for all that it is deliberately archaic, Ossian appears paradoxically also to be precociously modern.
    [Show full text]
  • University of Dundee Ossian and Visual Art Macdonald, Murdo
    University of Dundee Ossian and Visual Art Macdonald, Murdo Published in: Journal for Eighteenth-Century Studies DOI: 10.1111/1754-0208.12391 Publication date: 2016 Licence: Other Document Version Peer reviewed version Link to publication in Discovery Research Portal Citation for published version (APA): Macdonald, M. (2016). Ossian and Visual Art: Mislaid and Rediscovered. Journal for Eighteenth-Century Studies, 39(2), 235-248. [12391]. https://doi.org/10.1111/1754-0208.12391 General rights Copyright and moral rights for the publications made accessible in Discovery Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 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.
    [Show full text]
  • Journal of Irish and Scottish Studies Cultural Exchange: from Medieval
    Journal of Irish and Scottish Studies Volume 1: Issue 1 Cultural Exchange: from Medieval to Modernity AHRC Centre for Irish and Scottish Studies JOURNAL OF IRISH AND SCOTTISH STUDIES Volume 1, Issue 1 Cultural Exchange: Medieval to Modern Published by the AHRC Centre for Irish and Scottish Studies at the University of Aberdeen in association with The universities of the The Irish-Scottish Academic Initiative and The Stout Research Centre Irish-Scottish Studies Programme Victoria University of Wellington ISSN 1753-2396 Journal of Irish and Scottish Studies Issue Editor: Cairns Craig Associate Editors: Stephen Dornan, Michael Gardiner, Rosalyn Trigger Editorial Advisory Board: Fran Brearton, Queen’s University, Belfast Eleanor Bell, University of Strathclyde Michael Brown, University of Aberdeen Ewen Cameron, University of Edinburgh Sean Connolly, Queen’s University, Belfast Patrick Crotty, University of Aberdeen David Dickson, Trinity College, Dublin T. M. Devine, University of Edinburgh David Dumville, University of Aberdeen Aaron Kelly, University of Edinburgh Edna Longley, Queen’s University, Belfast Peter Mackay, Queen’s University, Belfast Shane Alcobia-Murphy, University of Aberdeen Brad Patterson, Victoria University of Wellington Ian Campbell Ross, Trinity College, Dublin The Journal of Irish and Scottish Studies is a peer reviewed journal, published twice yearly in September and March, by the AHRC Centre for Irish and Scottish Studies at the University of Aberdeen. An electronic reviews section is available on the AHRC Centre’s website: http://www.abdn.ac.uk/riiss/ahrc- centre.shtml Editorial correspondence, including manuscripts for submission, should be addressed to The Editors,Journal of Irish and Scottish Studies, AHRC Centre for Irish and Scottish Studies, Humanity Manse, 19 College Bounds, University of Aberdeen, AB24 3UG or emailed to [email protected] Subscriptions and business correspondence should be address to The Administrator.
    [Show full text]
  • Poems and Songs
    THE GLEN COLLECTION OF SCOTTISH MUSIC Presented by Lady Dorothea Ruggles- Brise to the National Library of Scotland, in memory of her brother, Major Lord George Stewart Murray, Black Watch, killed in action in France in 1914. 2Wi Jarnmni 1927. m cd"^£'l Digitized by the Internet Archive in 2010 with funding from National Library of Scotland http://www.archive.org/details/poemssongsOOgall POEMS AND SONGS, BY THE LATE RICHARD GALL. ! ; POEMS AND SONGS, BY THE LATE RICHARD GALL. A MEMOIR OF THE AUTHOR. I saw him faint ! I saw him sink to rest Like one ordain'd to gwell the vulgar throng As though the Virtues had not warm'd his breast. As though the Muses not inspired his tongue. SHENSTONE. EDINBURGH: Fvorn the Press of OLIVER AND BOYD, HIGH-STREET : Sold also by , AND W. B, WHITTAKER, LONDON; W. TURNBULL, GLASGOW : AND JOHNSTON AND DEAS, DUBLIN. MDCCCXIX, liNBURt^i^ MEMOIR RICHARD GALL. Ever since the uuion of Eng-land and Scotland, the languag^e of our fathers, no longer the language of a court, has been verging fast to oblivion ; and has been too generally regarded, even by Scotsmen; as the appropriate dialect of the vulgar and illite- rate. Yet they who had been accustomed to ad- mire, in the works of some of our early poets, the energies of their native tongue, could not fail to regi'et, that though scarcely inferior to any lan- guage, and certainly far superior to that by which it has been superseded^ in richness and iu melody, a : VI MEMOIR OF RICHARD GALL.
    [Show full text]
  • NGA | 2017 Annual Report
    N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M.
    [Show full text]
  • William Blake Henry Fuseli Auckland City Art Gallery
    WILLIAM BLAKE ILLUSTRATIONS OF THE BOOK OF JOB HENRY FUSELI THE THREE WITCHES OF MACBETH AND ASSOCIATED WORKS AUCKLAND CITY ART GALLERY AUGUST 8 - OCTOBER 2 1980 WILLIAM BLAKE (1757-1827) As poet, watercolourist and engraver, Blake was the creator of an idiosyncratic mythology. Born of a lower middle class merchant family, Blake had no academic training, but attended Henry Par's preparatory drawing school from 1767 until his apprenticeship in 1772 to James Basire, engraver to the Society of Antiquaries. At Westminster Abbey,Blake made drawings for Gough's Sepulchral Monuments in Great Britain (1786), thereby immersing himself in the mediaeval tradition, with which he found a spiritual affinity. In 1782 Blake married and moved to Leicester Fields in London, where he completed and published in 1783 his first work, Poetical Sketches. In these early years he developed lasting friendships with the painters Barry, Fuseli and Flaxman, and for a while shared Flaxman's preoccupation with classical art. For his next major publication, Songs of Innocence, completed in 1789, Blake invented a new engraving technique whereby lyrics and linear design could be reproduced simultaneously in several stages in the copper plate. The resulting prints were then hand-coloured. This complete fusion of tint and illustration recalls mediaeval illuminated manuscripts, from which Blake derived obvious inspiration. From 1790 until 1800 Blake lived in Lambeth and produced books, thematically characterised by energetic protest against eighteenth century morality (The Marriage of Heaven and Hell, 1790-3) and against political authority (Ammca 1793, and The French Revolution, 1791). These works corroborate Blake's radicalism, which was demonstrated by his sympathy with Swedenborg in religion, with Mary Wollstonecaft in education, and with the Jacobins during the French Revolution.
    [Show full text]
  • Fuseli, the Swiss, and the British: Some Recent Publications
    REVIEW Fuseli, tue Swiss, and tue Britisu: Some Recent Publications Detlef W. Dörrbecker Blake/An Illustrated Quarterly, Volume 15, Issue 1, Summer 1981, pp. 53-56 53 Fuseli, The Swiss, And The British: Some Recent Publications. Reviewed by Detlef W. Dbrrbecker ohann Heinrich F'ussli has been repatriated. relation between painting and poetry in his oeuvve Posthumously the Swiss painter who, under differs considerably from that in Blake's, where the J the name of Henry Fuseli, became Professor terminology of the "sister arts" and a "composite of Painting and Keeper of the London Royal Academy art" seems more legitimate. The Samtliche Gedichte is now accepted as one of the major figures of do not follow the concept of ut pictura poesis at eighteenth-century Continental art,1 and many of his all; on the contrary, with few exceptions they are most celebrated works have, during the past seventy quite abstract and non-visual, written in the manner years or so, found their way "back" into Swiss, and under the marked influence of Friedrich Gottlieb German, and Italian collections. Also, much of the Klopstock.3 Guthke points out what the reader of scholarly work on Fuseli has been published on the Fuseli's poetry feels from the beginning: the Continent, and now two aspects of his work which author favored the classical ode; his stanzas are are not readily available to the museum public, his alcaic or asclepiadeic; he makes use of hexameters poetry and his drawings, seem on the verge of or distichs—all rather complex poetic devices gaining the recognition they deserve.
    [Show full text]
  • David Scruton Phd Thesis
    D788709 91A0550?A . 80;2@10=3# 930;7;5 0;2 A316;7>B3 !C<8% 7" 2EXMH @GTWVRQ 0 ALIUMU @WFPMVVIH JRT VLI 2IKTII RJ =L2 EV VLI BQMXITUMV[ RJ @V% 0QHTIYU (--( 4WOO PIVEHEVE JRT VLMU MVIP MU EXEMOEFOI MQ ?IUIETGL/@V0QHTIYU.4WOOAIZV EV. LVVS.&&TIUIETGL$TISRUMVRT[%UV$EQHTIYU%EG%WN& =OIEUI WUI VLMU MHIQVMJMIT VR GMVI RT OMQN VR VLMU MVIP. LVVS.&&LHO%LEQHOI%QIV&('')*&)-,+ ALMU MVIP MU STRVIGVIH F[ RTMKMQEO GRS[TMKLV WILLIAM McTAGGART: Landscape Meaning and Technique by David Scruton Submitted for the degree of PhD. University of St.Andrews September 1990 I ABSTRACT This thesis alms to provide an interpretation of McTaggart's work within a discussion of critical discourse in British art, referring In particular to the relative values of content and technique, in the second half of the nineteenth century. The first section contains an overview of the critical approaches to McTaggart's work from early career to the present day, centred upon how the notion of "impressionist" has been applied to McTaggart. This Is followed by an examination of some of the broad determinants of McTaggart's career, such as patronage and his relationship with Academic establishment. Section II deals with content In landscape art, looking first at the status of landscape In British art. It examines how content was dealt with in Scottish landscape painting prior to McTaggart, and how McTaggart's choice of painting locations addressed traditions of Scottish landscape. The notion of the "poetic" landscape Is advanced as an appropriate Interpretation of McTaggart's approach. Within this, specific Influences upon McTaggart, such as that of J.E.
    [Show full text]
  • The Scottish Painters' Exile in Italy in the Eighteenth Century
    The Scottish painters’ exile in Italy in the eighteenth century Marion Amblard To cite this version: Marion Amblard. The Scottish painters’ exile in Italy in the eighteenth century. Etudes écossaises, ELLUG, 2011, Exil et Retour, pp.59-77. hal-01848076 HAL Id: hal-01848076 https://hal.archives-ouvertes.fr/hal-01848076 Submitted on 24 Jul 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Études écossaises 13 | 2010 Exil et Retour The Scottish painters’ exile in Italy in the eighteenth century L’exil des peintres écossais en Italie au dix-huitième siècle Marion Amblard Publisher Ellug / Éditions littéraires et linguistiques de l’université de Grenoble Electronic version URL: http:// Printed version etudesecossaises.revues.org/219 Date of publication: 30 septembre 2010 ISSN: 1969-6337 Number of pages: 59-77 ISBN: 978-2-84310-173-1 ISSN: 1240-1439 Electronic reference Marion Amblard, « The Scottish painters’ exile in Italy in the eighteenth century », Études écossaises [Online], 13 | 2010, Online since 30 September 2011, connection on 30 September 2016. URL : http:// etudesecossaises.revues.org/219 The text is a facsimile of the print edition. © Études écossaises Marion Amblard Stendhal University, Grenoble 3 The Scottish painters’ exile in Italy in the eighteenth century In the eighteenth century, a visit to Italy was considered by many as essen- tial in the career of a painter.
    [Show full text]
  • The Scottish Painters' Exile in Italy in the Eighteenth
    Études écossaises 13 | 2010 Exil et Retour The Scottish painters’ exile in Italy in the eighteenth century L’exil des peintres écossais en Italie au dix-huitième siècle Marion Amblard Electronic version URL: http://journals.openedition.org/etudesecossaises/219 DOI: 10.4000/etudesecossaises.219 ISSN: 1969-6337 Publisher UGA Éditions/Université Grenoble Alpes Printed version Date of publication: 30 September 2010 Number of pages: 59-77 ISBN: 978-2-84310-173-1 ISSN: 1240-1439 Electronic reference Marion Amblard, « The Scottish painters’ exile in Italy in the eighteenth century », Études écossaises [Online], 13 | 2010, Online since 30 September 2011, connection on 07 September 2020. URL : http:// journals.openedition.org/etudesecossaises/219 ; DOI : https://doi.org/10.4000/etudesecossaises.219 © Études écossaises Marion Amblard Stendhal University, Grenoble 3 The Scottish painters’ exile in Italy in the eighteenth century In the eighteenth century, a visit to Italy was considered by many as essen- tial in the career of a painter. Although contemporary Italian painting was not as prestigious as before, Rome was still the artistic centre of conti- nental Europe and attracted many artists eager to complete their training and to find patrons among the aristocrats on the Grand Tour. 1 As Presi- dent of the Royal Academy, Joshua Reynolds (1723–1792) stressed the importance of a stay in Italy to enable young painters to study the works of the Renaissance masters. 2 Not all English artists agreed with Reynolds; William Hogarth (1697–1764), for instance, staunchly opposed the idea of going abroad to copy and imitate foreign artists. 3 For Scottish painters, 1.
    [Show full text]