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The Dream of Ossian

April 15, 2024

The Dream of Ossian (French: Le Songe d'Ossian) is an 1813 painting by the French artist Jean-Auguste-Dominique Ingres. The work depicts the legendary poet Ossian sleeping while he dreams of relatives, warriors and deities, which appear above him on the canvas. Ingres was influenced by his contemporaries' Ossianic works, including James Macpherson's purported translations of Ossian's poems, François Gérard's 1801 painting Ossian Evoking Phantoms, and Jean-François Le Sueur's 1803 opera Ossian, ou Les bardes.

The Dream of Ossian
ArtistJean-Auguste-Dominique Ingres
Year1813
Mediumoil on canvas
Dimensions348 cm × 275 cm (137 in × 108 in)[1]
LocationMusée Ingres Bourdelle, Montauban, France

The painting was intended for the French emperor Napoleon's bedroom in the Quirinal Palace in Rome, but was reacquired by Ingres in 1835. Unfinished compositional adjustments were made to the painting, and the work was bequeathed to the Musée Ingres at the artist's death in 1867. Though subsequent criticism described the work as "grisaille" and "bizarre", others viewed the painting as characteristic of Neoclassicism or Romanticism.

Description edit

Ossian is seated in the center foreground, dreaming while leaning on his harp. The poet is accompanied in the rocky landscape by a hound. The figures above Ossian are ghosts of the past and are part of his titular dream.[2][3] The vision is framed on the right by Ossian's son Oscar bearing a spear and shield[1] and on the left by a seated woman who holds a bow with one hand and extends the other towards Ossian. This figure has been interpreted by some to be Ossian's wife Evirallina[1][4] and by others to be Oscar's wife Malvina.[2][3] Behind this female figure is Ossian's father, Fingal, who leads a group of warriors, some of whom are embraced by naked women. In the center of the dream, four maidens play harps in the clouds before a seated and long-haired Snow King Starno.[4][5]

The literary source of the painting's scene can be found in a passage in The War of Inisthona from James Macpherson's Poems of Ossian. The passage relates how Malvina's harp charms Ossian to sleep, during which he dreams of the past.[3] The dreaming scene is also featured in Act IV, scene iii of the opera Ossian, ou Les bardes (English: Ossian, or The Bards), which contains descriptions of the armed warriors and their lovers that are likewise found in the painting.[6] The inclusion of four harpists in the painting is another possible reference to the opera.[4]

Ingres himself recorded the following about the scene's subject:

Ireland was the theater. On the last of Fingal's exploits, he solemnly consigned to Ossian his lance which had served him for the defense of the weak and oppressed. Then, deprived of his father and of his son Oscar, [who was] slain treacherously, blind and sick, he [Ossian] charmed his unhappiness and his misery by chanting of the exploits of his friends. He often crawled along the tomb of his son and father and there plucked with his trembling fingertips. The wife of dear Oscar, Malvina, never abandoned him; it was to her that he addressed the majority of his poems about the valiant Oscar ...[7]

Beneath this, Ingres added some notes for the painting:

victory of Fingal over Caracalla / Noise of the torrential storm / ground, heather and deserted lands / Brilliant stars / the baying of hounds.[7]

History edit

 
Ossian Evoking Phantoms (1801), François Gérard

The painting's subject Ossian purportedly was a blind Scottish poet who lived in the 3rd century CE. In the 1760s, James Macpherson published texts supposedly by Ossian, which Macpherson claimed to have rediscovered and translated from Gaelic into English.[8][9] The translated works' success in Britain was followed by a spread of enthusiasm for Ossian throughout Europe. One of the poems was translated into French as early as 1762, and the collected works were translated in 1777. It was the Italian translation, however, by Melchiorre Cesarotti which the future French emperor Napoleon read.[10] Napoleon became a fervent admirer of Ossian; it was even said that he carried a copy of Ossian's work into battle.[4]

Though French artists turned to Ossian relatively late compared to the rest of Europe, Napoleon's patronage became a major incentive for many Ossianic works.[11] In 1800, Napoleon commanded architects Charles Percier and Pierre-François-Léonard Fontaine to decorate his summer residence Château de Malmaison. In 1801, Percier and Fontaine in turn commissioned paintings from François Gérard and Anne-Louis Girodet, who both turned to Ossian as the subject for their paintings.[12][13][14] Napoleon was also the dedicatee of the 1803 opera Ossian, ou Les bardes by Jean-François Le Sueur, and he attended the 1804 premiere.[4][7]

Like Napoleon, Ingres was an admirer of Ossian,[15] having made a drawing of The Dream of Ossian in 1809 while studying at the French Academy in Rome. Sometime between 1810 and 1812, Ingres was commissioned by the French Governor of Rome Miollis to create two large paintings for the formerly papal Quirinal Palace.[16][17][18] One was intended for the empress Marie Louise's sitting room and the other was for the ceiling of emperor Napoleon's bedroom. For the former, Ingres painted Romulus' Victory Over Acron (French: Romulus vainqueur d’Acron) in 1812.[19] For the latter, he completed The Dream of Ossian in 1813 on a canvas which was then affixed to the bedroom ceiling.[5][20] The artist found inspiration in Gérard's 1801 painting Ossian Evoking Phantoms (French: Ossian évoque les fantômes) that was commissioned for Malmaison.[13][21] Ingres was known to have had lithographs of Gérard's painting and had made sketches of its details.[4] Some compositional choices may have also been influenced by the opera Ossian, ou Les bardes by Le Sueur,[4] whom Ingres knew. Prior to completing The Dream of Ossian, Ingres had likely seen Le Sueur's opera, which was frequently performed between 1806 and 1811.[16] Additionally, it has been posited that Ingres's figures and outline technique in studies for the painting were drawn from British artist John Flaxman's 1792 illustration The Council of the Gods.[22][23]

Ingres made various versions of The Dream of Ossian,[6] both before and after completing his 1813 painting. As of 1983, there were 9 existing drawings on the subject by Ingres.[5] In 2021, these included an 1811 work in pencil and chalk in the Scottish National Gallery[24] and a c. 1832–1834 watercolor drawing in the Harvard Art Museums.[25]

Napoleon never used the bedroom for which The Dream of Ossian was intended. Following Napoleon's fall and around the time of disastrous French defeats in Italy,[18] the painting was removed from the Quirinal Palace in 1815 and was likely sold.[16] Ingres bought the painting back in 1835, with the intent of restoring it from its poor condition and possibly reselling the work. The painting was originally oval-shaped, but Ingres fitted it to a rectangular frame after repurchasing the work. He made several preparatory studies modifying the composition to its new frame before charging his pupil Raymond Balze with sketching in the changes. However, Balze's work was never completed, leaving some figures that appear to be doubled (such as the warrior with the lance on the left).[16][20] Ingres bequeathed The Dream of Ossian to the Museum of Montauban (now the Musée Ingres Bourdelle) at his death in January 1867.[26]

Interpretation edit

The Dream of Ossian is considered a history painting, a genre to which the young Ingres desired to devote his career. Ossian offered a departure from the Greco-Roman Classicism,[4][20] which dominated French art of the early 1800s.[14] Yet, there are some reservations to the work's characterization as an anticlassicist history painting. The historical authenticity of Ossian was the subject of a contemporary debate,[27] and the composition still features classical aspects such as the near-Roman style of armor worn by the warriors.[2]

Scholars have drawn a number of connections between Ingres's The Dream of Ossian and Gérard's Ossian Evoking Phantoms. The art historian Robert Rosenblum even notes that the former is "clearly indebted" to the latter.[13] In both Ingres's and Gérard's paintings, Ossian evokes ghosts and memories of the past which tower over him. There is also a potential parallel between Malvina (or Evirallina) in Ingres's depiction and the ghost of an old bard in Gérard's, since both figures are seen reaching out towards Ossian. Other similarities include the poet's dress, the harpists, and the embracing lovers. Conversely, there are also multiple contrasting elements. Gérard's Ossian calls for the ghosts willfully while Ingres's Ossian only dreams about them. Furthermore, the art writer Henry Okun described Gérard's painting as a "romantic frenzy", with movement present in the blowing winds and flowing stream; Ingres's painting by contrast was said to be "replete with neoclassic calm", featuring clouds and ghosts that have a "cement-like consistency".[2]

In 1952, the art editor Thomas B. Hess saw The Dream of Ossian as "[having] all the emotional tone and sobbing fury that characterized the later appearance of Romantic painting."[28] In her 1968 article on an Ingres exhibition at the Petit Palais, the English art historian Anita Brookner did not view the painting favorably. She described the depiction of the dream as "grisaille" and the painting as an Ingres work that must be "written off".[29] In 2018, the anthropologist Peter Gow wrote that the work was an "extremely strange painting."[30] He explained, "The young Ingres who painted The Dream of Ossian is either bizarrely reactionary or bizarrely prophetic. You don't know if it is simply a bad painting, harking back to the worst excesses of the Baroque, or a sort of precocious fumbling towards Cubism or even German Expressionist cinema."[20]

See also edit

References edit

  1. ^ a b c Betzer 2013, p. 91.
  2. ^ a b c d Okun 1967, p. 353.
  3. ^ a b c Rubin 1976, p. 386.
  4. ^ a b c d e f g h Fondation Napoléon.
  5. ^ a b c Condon et al. 1983, p. 46.
  6. ^ a b Mongan 1947, p. 12.
  7. ^ a b c Condon et al. 1983, p. 237.
  8. ^ Okun 1967, pp. 327–328.
  9. ^ Gow 2018, p. 3.
  10. ^ Okun 1967, p. 330.
  11. ^ Okun 1967, p. 346.
  12. ^ Okun 1967, pp. 347–348.
  13. ^ a b c Rosenblum 1967, p. 584.
  14. ^ a b Rubin 1976, p. 383.
  15. ^ Symmons 1979, p. 721.
  16. ^ a b c d Okun 1967, p. 352.
  17. ^ King 1942, p. 73.
  18. ^ a b Eisendrath 1953, p. 15.
  19. ^ King 1942, p. 74.
  20. ^ a b c d Gow 2018, p. 2.
  21. ^ Rubin 1976, Figure 1.
  22. ^ Symmons 1979, p. 722.
  23. ^ Royal Academy of Arts.
  24. ^ Harvard Art Museums.
  25. ^ Masters in Art 1906, p. 280.
  26. ^ Gow 2018, pp. 1, 4.
  27. ^ Hess 1952, p. 178.
  28. ^ Brookner 1968, p. 95.
  29. ^ Gow 2018, p. 1.

Sources edit

Printed sources edit

  • Betzer, Sarah (2013). "Ingres's Shadows". The Art Bulletin. 95 (1). College Art Association: 78–101. doi:10.1080/00043079.2013.10786107. JSTOR 43188796. S2CID 191370788.
  • Brookner, Anita (1968). "Ingres at the Petit Palais". The Burlington Magazine. 110 (779). Burlington Magazine Publications: 94–96. JSTOR 875527.
  • Condon, Patricia; Cohn, Marjorie B.; Mongan, Agnes (1983). Ingres, in Pursuit of Perfection: The Art of J.-A.-D. Ingres. J.B. Speed Art Museum. ISBN 978-0-9612-2760-9.
  • Eisendrath, William N. (1953). "A Drawing by Ingres". Bulletin of the City Art Museum of St. Louis. 38 (2). Saint Louis Art Museum: 14–16. JSTOR 40714810.
  • Gow, Peter (2018). "The continual changes: Transforming art styles in Enlightenment Scotland and beyond". In Bunn, Stephanie (ed.). Anthropology and Beauty: From Aesthetics to Creativity. Routledge. ISBN 978-1-3174-0054-7.
  • Hess, Thomas B. (1952). "Ingres". ARTnews. Vol. 51, no. 7. The Art Foundation, Inc. pp. 147–172, 176–182.
  • King, Edward S. (1942). "Ingres as Classicist". The Journal of the Walters Art Gallery. 5. Walters Art Museum: 68–113. JSTOR 20168766.
  • Mongan, Agnes (1947). "Ingres and the Antique". Journal of the Warburg and Courtauld Institutes. 10. Warburg Institute: 1–13. doi:10.2307/750392. JSTOR 750392. S2CID 195046185.
  • Okun, Henry (1967). "Ossian in Painting". Journal of the Warburg and Courtauld Institutes. 30. Warburg Institute: 327–356. doi:10.2307/750749. JSTOR 750749. S2CID 195003210.
  • Rosenblum, Robert (1967). "The Ingres Centenary at Montauban". The Burlington Magazine. 109 (775). Burlington Magazine Publications: 583–585, 587. JSTOR 875331.
  • Rubin, James Henry (1976). "Gérard's Painting of 'Ossian' as an Allegory of Inspired Art". Studies in Romanticism. 15 (3). Johns Hopkins University Press: 383–394. doi:10.2307/25600033. JSTOR 25600033.
  • Symmons, Sarah (1979). "J. A. D. Ingres: The Apotheosis of Flaxman". The Burlington Magazine. 121 (920). Burlington Magazine Publications: 721–725, 731. JSTOR 879807.
  • "Jean-Auguste-Dominique Ingres". Masters in Art: A Series of Illustrated Monographs. Bates & Guild Company. 1906. pp. 275–294.

Internet sources edit

External links edit

April 15, 2024
dream, ossian, french, songe, ossian, 1813, painting, french, artist, jean, auguste, dominique, ingres, work, depicts, legendary, poet, ossian, sleeping, while, dreams, relatives, warriors, deities, which, appear, above, canvas, ingres, influenced, contemporar. The Dream of Ossian French Le Songe d Ossian is an 1813 painting by the French artist Jean Auguste Dominique Ingres The work depicts the legendary poet Ossian sleeping while he dreams of relatives warriors and deities which appear above him on the canvas Ingres was influenced by his contemporaries Ossianic works including James Macpherson s purported translations of Ossian s poems Francois Gerard s 1801 painting Ossian Evoking Phantoms and Jean Francois Le Sueur s 1803 opera Ossian ou Les bardes The Dream of OssianArtistJean Auguste Dominique IngresYear1813Mediumoil on canvasDimensions348 cm 275 cm 137 in 108 in 1 LocationMusee Ingres Bourdelle Montauban FranceThe painting was intended for the French emperor Napoleon s bedroom in the Quirinal Palace in Rome but was reacquired by Ingres in 1835 Unfinished compositional adjustments were made to the painting and the work was bequeathed to the Musee Ingres at the artist s death in 1867 Though subsequent criticism described the work as grisaille and bizarre others viewed the painting as characteristic of Neoclassicism or Romanticism Contents 1 Description 2 History 3 Interpretation 4 See also 5 References 5 1 Sources 5 1 1 Printed sources 5 1 2 Internet sources 6 External linksDescription editOssian is seated in the center foreground dreaming while leaning on his harp The poet is accompanied in the rocky landscape by a hound The figures above Ossian are ghosts of the past and are part of his titular dream 2 3 The vision is framed on the right by Ossian s son Oscar bearing a spear and shield 1 and on the left by a seated woman who holds a bow with one hand and extends the other towards Ossian This figure has been interpreted by some to be Ossian s wife Evirallina 1 4 and by others to be Oscar s wife Malvina 2 3 Behind this female figure is Ossian s father Fingal who leads a group of warriors some of whom are embraced by naked women In the center of the dream four maidens play harps in the clouds before a seated and long haired Snow King Starno 4 5 The literary source of the painting s scene can be found in a passage in The War of Inisthona from James Macpherson s Poems of Ossian The passage relates how Malvina s harp charms Ossian to sleep during which he dreams of the past 3 The dreaming scene is also featured in Act IV scene iii of the opera Ossian ou Les bardes English Ossian or The Bards which contains descriptions of the armed warriors and their lovers that are likewise found in the painting 6 The inclusion of four harpists in the painting is another possible reference to the opera 4 Ingres himself recorded the following about the scene s subject Ireland was the theater On the last of Fingal s exploits he solemnly consigned to Ossian his lance which had served him for the defense of the weak and oppressed Then deprived of his father and of his son Oscar who was slain treacherously blind and sick he Ossian charmed his unhappiness and his misery by chanting of the exploits of his friends He often crawled along the tomb of his son and father and there plucked with his trembling fingertips The wife of dear Oscar Malvina never abandoned him it was to her that he addressed the majority of his poems about the valiant Oscar 7 Beneath this Ingres added some notes for the painting victory of Fingal over Caracalla Noise of the torrential storm ground heather and deserted lands Brilliant stars the baying of hounds 7 History edit nbsp Ossian Evoking Phantoms 1801 Francois GerardThe painting s subject Ossian purportedly was a blind Scottish poet who lived in the 3rd century CE In the 1760s James Macpherson published texts supposedly by Ossian which Macpherson claimed to have rediscovered and translated from Gaelic into English 8 9 The translated works success in Britain was followed by a spread of enthusiasm for Ossian throughout Europe One of the poems was translated into French as early as 1762 and the collected works were translated in 1777 It was the Italian translation however by Melchiorre Cesarotti which the future French emperor Napoleon read 10 Napoleon became a fervent admirer of Ossian it was even said that he carried a copy of Ossian s work into battle 4 Though French artists turned to Ossian relatively late compared to the rest of Europe Napoleon s patronage became a major incentive for many Ossianic works 11 In 1800 Napoleon commanded architects Charles Percier and Pierre Francois Leonard Fontaine to decorate his summer residence Chateau de Malmaison In 1801 Percier and Fontaine in turn commissioned paintings from Francois Gerard and Anne Louis Girodet who both turned to Ossian as the subject for their paintings 12 13 14 Napoleon was also the dedicatee of the 1803 opera Ossian ou Les bardes by Jean Francois Le Sueur and he attended the 1804 premiere 4 7 Like Napoleon Ingres was an admirer of Ossian 15 having made a drawing of The Dream of Ossian in 1809 while studying at the French Academy in Rome Sometime between 1810 and 1812 Ingres was commissioned by the French Governor of Rome Miollis to create two large paintings for the formerly papal Quirinal Palace 16 17 18 One was intended for the empress Marie Louise s sitting room and the other was for the ceiling of emperor Napoleon s bedroom For the former Ingres painted Romulus Victory Over Acron French Romulus vainqueur d Acron in 1812 19 For the latter he completed The Dream of Ossian in 1813 on a canvas which was then affixed to the bedroom ceiling 5 20 The artist found inspiration in Gerard s 1801 painting Ossian Evoking Phantoms French Ossian evoque les fantomes that was commissioned for Malmaison 13 21 Ingres was known to have had lithographs of Gerard s painting and had made sketches of its details 4 Some compositional choices may have also been influenced by the opera Ossian ou Les bardes by Le Sueur 4 whom Ingres knew Prior to completing The Dream of Ossian Ingres had likely seen Le Sueur s opera which was frequently performed between 1806 and 1811 16 Additionally it has been posited that Ingres s figures and outline technique in studies for the painting were drawn from British artist John Flaxman s 1792 illustration The Council of the Gods 22 23 Ingres made various versions of The Dream of Ossian 6 both before and after completing his 1813 painting As of 1983 there were 9 existing drawings on the subject by Ingres 5 In 2021 these included an 1811 work in pencil and chalk in the Scottish National Gallery 24 and a c 1832 1834 watercolor drawing in the Harvard Art Museums 25 Napoleon never used the bedroom for which The Dream of Ossian was intended Following Napoleon s fall and around the time of disastrous French defeats in Italy 18 the painting was removed from the Quirinal Palace in 1815 and was likely sold 16 Ingres bought the painting back in 1835 with the intent of restoring it from its poor condition and possibly reselling the work The painting was originally oval shaped but Ingres fitted it to a rectangular frame after repurchasing the work He made several preparatory studies modifying the composition to its new frame before charging his pupil Raymond Balze with sketching in the changes However Balze s work was never completed leaving some figures that appear to be doubled such as the warrior with the lance on the left 16 20 Ingres bequeathed The Dream of Ossian to the Museum of Montauban now the Musee Ingres Bourdelle at his death in January 1867 26 Interpretation editThe Dream of Ossian is considered a history painting a genre to which the young Ingres desired to devote his career Ossian offered a departure from the Greco Roman Classicism 4 20 which dominated French art of the early 1800s 14 Yet there are some reservations to the work s characterization as an anticlassicist history painting The historical authenticity of Ossian was the subject of a contemporary debate 27 and the composition still features classical aspects such as the near Roman style of armor worn by the warriors 2 Scholars have drawn a number of connections between Ingres s The Dream of Ossian and Gerard s Ossian Evoking Phantoms The art historian Robert Rosenblum even notes that the former is clearly indebted to the latter 13 In both Ingres s and Gerard s paintings Ossian evokes ghosts and memories of the past which tower over him There is also a potential parallel between Malvina or Evirallina in Ingres s depiction and the ghost of an old bard in Gerard s since both figures are seen reaching out towards Ossian Other similarities include the poet s dress the harpists and the embracing lovers Conversely there are also multiple contrasting elements Gerard s Ossian calls for the ghosts willfully while Ingres s Ossian only dreams about them Furthermore the art writer Henry Okun described Gerard s painting as a romantic frenzy with movement present in the blowing winds and flowing stream Ingres s painting by contrast was said to be replete with neoclassic calm featuring clouds and ghosts that have a cement like consistency 2 In 1952 the art editor Thomas B Hess saw The Dream of Ossian as having all the emotional tone and sobbing fury that characterized the later appearance of Romantic painting 28 In her 1968 article on an Ingres exhibition at the Petit Palais the English art historian Anita Brookner did not view the painting favorably She described the depiction of the dream as grisaille and the painting as an Ingres work that must be written off 29 In 2018 the anthropologist Peter Gow wrote that the work was an extremely strange painting 30 He explained The young Ingres who painted The Dream of Ossian is either bizarrely reactionary or bizarrely prophetic You don t know if it is simply a bad painting harking back to the worst excesses of the Baroque or a sort of precocious fumbling towards Cubism or even German Expressionist cinema 20 See also editList of paintings by Jean Auguste Dominique IngresReferences edit a b c Betzer 2013 p 91 a b c d Okun 1967 p 353 a b c Rubin 1976 p 386 a b c d e f g h Fondation Napoleon a b c Condon et al 1983 p 46 a b Mongan 1947 p 12 a b c Condon et al 1983 p 237 Okun 1967 pp 327 328 Gow 2018 p 3 Okun 1967 p 330 Okun 1967 p 346 Okun 1967 pp 347 348 a b c Rosenblum 1967 p 584 a b Rubin 1976 p 383 Symmons 1979 p 721 a b c d Okun 1967 p 352 King 1942 p 73 a b Eisendrath 1953 p 15 King 1942 p 74 a b c d Gow 2018 p 2 Rubin 1976 Figure 1 Symmons 1979 p 722 Royal Academy of Arts Scottish National Gallery Harvard Art Museums Masters in Art 1906 p 280 Gow 2018 pp 1 4 Hess 1952 p 178 Brookner 1968 p 95 Gow 2018 p 1 Sources edit Printed sources edit Betzer Sarah 2013 Ingres s Shadows The Art Bulletin 95 1 College Art Association 78 101 doi 10 1080 00043079 2013 10786107 JSTOR 43188796 S2CID 191370788 Brookner Anita 1968 Ingres at the Petit Palais The Burlington Magazine 110 779 Burlington Magazine Publications 94 96 JSTOR 875527 Condon Patricia Cohn Marjorie B Mongan Agnes 1983 Ingres in Pursuit of Perfection The Art of J A D Ingres J B Speed Art Museum ISBN 978 0 9612 2760 9 Eisendrath William N 1953 A Drawing by Ingres Bulletin of the City Art Museum of St Louis 38 2 Saint Louis Art Museum 14 16 JSTOR 40714810 Gow Peter 2018 The continual changes Transforming art styles in Enlightenment Scotland and beyond In Bunn Stephanie ed Anthropology and Beauty From Aesthetics to Creativity Routledge ISBN 978 1 3174 0054 7 Hess Thomas B 1952 Ingres ARTnews Vol 51 no 7 The Art Foundation Inc pp 147 172 176 182 King Edward S 1942 Ingres as Classicist The Journal of the Walters Art Gallery 5 Walters Art Museum 68 113 JSTOR 20168766 Mongan Agnes 1947 Ingres and the Antique Journal of the Warburg and Courtauld Institutes 10 Warburg Institute 1 13 doi 10 2307 750392 JSTOR 750392 S2CID 195046185 Okun Henry 1967 Ossian in Painting Journal of the Warburg and Courtauld Institutes 30 Warburg Institute 327 356 doi 10 2307 750749 JSTOR 750749 S2CID 195003210 Rosenblum Robert 1967 The Ingres Centenary at Montauban The Burlington Magazine 109 775 Burlington Magazine Publications 583 585 587 JSTOR 875331 Rubin James Henry 1976 Gerard s Painting of Ossian as an Allegory of Inspired Art Studies in Romanticism 15 3 Johns Hopkins University Press 383 394 doi 10 2307 25600033 JSTOR 25600033 Symmons Sarah 1979 J A D Ingres The Apotheosis of Flaxman The Burlington Magazine 121 920 Burlington Magazine Publications 721 725 731 JSTOR 879807 Jean Auguste Dominique Ingres Masters in Art A Series of Illustrated Monographs Bates amp Guild Company 1906 pp 275 294 Internet sources edit The Council of the Gods Royal Academy of Arts Retrieved March 25 2021 The Dream of Ossian Scottish National Gallery Retrieved March 25 2021 The Dream of Ossian Harvard Art Museums Retrieved March 25 2021 Ossian s Dream Le Songe d Ossian Fondation Napoleon Retrieved March 23 2021 External links editBase Joconde Le Songe d Ossian French Ministry of Culture in French Retrieved from https en wikipedia org w index php title The Dream of Ossian amp oldid 1190318071, 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