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الفن الاسكتلندي في القرن الثامن عشر Arte scozzese nel XVIII secolo Scottish art in the eighteenth century
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L'arte scozzese nel XVIII secolo è il corpo dell'arte visiva prodotta in Scozia, dagli scozzesi o su soggetti scozzesi, nel XVIII secolo. Questo periodo ha visto lo sviluppo della professionalizzazione con accademie d'arte che furono fondate a Edimburgo e Glasgow. L'arte è stata sempre più influenzata dal Neoclassicismo, l'Illuminismo e, verso la fine del secolo, dal Romanticismo, con l'Italia che diventava un importante centro dell'arte scozzese. الفن الاسكتلندي في القرن الثامن عشر هو مجموع الفنون المرئية التي صُنعت في اسكتلندا، بواسطة اسكتلنديين، أو عن موضوعات اسكتلندية، في القرن الثامن عشر. شهدت هذه الفترة تطور الاحتراف، وإنشاء الأكاديميات الفنية في إدنبرة وغلاسكو. تأثر الفن بشكل متزايد بالحركة الكلاسيكية الحديثة والتنوير الاسكتلندي وصولًا للتأثر بالرومانسية في نهاية القرن، وتحوُل إيطاليا لتكون المركز الرئيسي للفن الأسكتلندي. Scottish art in the eighteenth century is the body of visual art made in Scotland, by Scots, or about Scottish subjects, in the eighteenth century. This period saw development of professionalisation, with art academies were established in Edinburgh and Glasgow. Art was increasingly influenced by Neoclassicism, the Enlightenment and towards the end of the century by Romanticism, with Italy becoming a major centre of Scottish art.
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Scottish art in the eighteenth century is the body of visual art made in Scotland, by Scots, or about Scottish subjects, in the eighteenth century. This period saw development of professionalisation, with art academies were established in Edinburgh and Glasgow. Art was increasingly influenced by Neoclassicism, the Enlightenment and towards the end of the century by Romanticism, with Italy becoming a major centre of Scottish art. The origins of the tradition of Scottish landscape painting are in the capriccios of Italian and Dutch landscapes undertaken by James Norie and his sons. These were further developed by Jacob More, who added a romantic sensibility to the Scottish landscape. Alexander Nasmyth helped found the Scottish landscape tradition and was highly influential as a teacher in Edinburgh on the subsequent generation of artists. John Knox linked it with the Romantic works of Walter Scott and was one of the first artists to take an interest in the urban landscape of Glasgow. Aberdeen-born John Alexander and William Mossman were the leading portrait artists of the first half of the century. Allan Ramsay emerged as the leading portrait painter of the mid-century and to the royal family, noted for his intimate representations. Towards the end of the century Henry Raeburn emerged as the leading portraitist and one of the first artists to spend the majority of their career in Scotland, extending his range to leading figures of the Enlightenment and most famous for his depiction of the Skating Minister. Neoclassicism was pioneered by Gavin Hamilton and his proteges, the brothers John and Alexander Runciman, and David Allan. Alexander Runciman pioneered historical painting and Alan helped develop genre art, both of which would be taken up by Scottish artists in the next century. After the Acts of Union in 1707 there was very little patronage for large and expensive works of art in Scotland. With the growth of civic development there was an increasing demand for public statuary and the portrait bust also became popular. Commissions of new statuary tended to be made in relatively cheap lead and even more economical painted or gilded plaster. From the late eighteenth century there are a handful of examples of work from Scottish artists. L'arte scozzese nel XVIII secolo è il corpo dell'arte visiva prodotta in Scozia, dagli scozzesi o su soggetti scozzesi, nel XVIII secolo. Questo periodo ha visto lo sviluppo della professionalizzazione con accademie d'arte che furono fondate a Edimburgo e Glasgow. L'arte è stata sempre più influenzata dal Neoclassicismo, l'Illuminismo e, verso la fine del secolo, dal Romanticismo, con l'Italia che diventava un importante centro dell'arte scozzese. Le origini della tradizione della pittura paesaggistica scozzese sono nei capricci dei paesaggi italiani e olandesi iniziati da James Norie e dai suoi figli. Questi furono ulteriormente sviluppati da Jacob More che aggiunse una sensibilità romantica al paesaggio scozzese. Alexander Nasmyth contribuì a fondare la tradizione paesaggistica scozzese e fu molto influente, come insegnante a Edimburgo, sulla successiva generazione di artisti. John Knox lo collegò con le opere romantiche di Walter Scott e fu uno dei primi artisti ad interessarsi al paesaggio urbano di Glasgow. John Alexander nato ad Aberdeen e William Mossman furono i principali ritrattisti della prima metà del secolo. Allan Ramsay emerse come il principale ritrattista della metà del secolo e della famiglia reale, noto per le sue rappresentazioni intime. Verso la fine del secolo Henry Raeburn si mise in luce come il ritrattista più importante e uno dei primi artisti a trascorrere la maggior parte della carriera in Scozia, estendendo il suo campo di azione ad eminenti personaggi dell'Illuminismo e famoso in particolare per la sua rappresentazione dello Skating Minister (Ministro sui pattini). Pionieri del Neoclassicismo furono Gavin Hamilton e i suoi protetti, i fratelli John e Alexander Runciman e David Allan. Alexander Runciman fu pioniere della pittura storica e Alan contribuì a sviluppare l'arte di genere ed entrambi sarebbero stati ripresi dagli artisti scozzesi nel secolo successivo. Dopo gli Atti dell'Unione nel 1707, in Scozia c'era molto poco patrocinio per grandi e costose opere d'arte. Con la crescita dello sviluppo civile vi fu un aumento della domanda di statue pubbliche e anche il busto divenne popolare. Gli ordini di nuove statue tendevano ad essere realizzate in piombo relativamente economico e verniciate o in gesso dorato ancora più economico. Dalla fine del XVIII secolo, c'è una manciata di esempi di opere di artisti scozzesi. الفن الاسكتلندي في القرن الثامن عشر هو مجموع الفنون المرئية التي صُنعت في اسكتلندا، بواسطة اسكتلنديين، أو عن موضوعات اسكتلندية، في القرن الثامن عشر. شهدت هذه الفترة تطور الاحتراف، وإنشاء الأكاديميات الفنية في إدنبرة وغلاسكو. تأثر الفن بشكل متزايد بالحركة الكلاسيكية الحديثة والتنوير الاسكتلندي وصولًا للتأثر بالرومانسية في نهاية القرن، وتحوُل إيطاليا لتكون المركز الرئيسي للفن الأسكتلندي. تعود أصول تقليد تصوير المناظر الطبيعية الاسكتلندية إلى كابريتشيوات (capriccios) المناظر الطبيعية الإيطالية والهولندية التي صوَّرها جيمس نوري وابنيّه. طور هذه المناظر أكثر جاكوب مور، الذي أضاف الحساسية الرومانسية إلى المنظر الطبيعي الاسكتلندي. ساعد ألكسندر ناسميث في تأسيس تقليد المناظر الطبيعية الاسكتلندية وكان له تأثير كبير بصفته معلمًا في إدنبرة على الجيل التالي من الفنانين. ربط جون نوكس بينها (المناظر الطبيعية الاسكتلندية) والأعمال الرومانسية لوالتر سكوت وكان من أوائل الفنانين الذين اهتموا بالمناظر الحضرية في غلاسكو. كان كلٌ من جون ألكسندر وويليام موسمان المولودان في أبردين فنانا تصوير البورتريه الرئيسييّن في النصف الأول من القرن. ثم ظهر آلان رامزي، المعروف بتمثيلاته الحميمة، ليكون مصوِّر البورتريه الأبرز في منتصف القرن وللعائلة المالكة. قرب نهاية القرن ظهر هنري رايبورن ليكون بدوره مصوِّر البورتريه الأبرز وأحد أوائل الفنانين الذين أمضوا معظم حياتهم المهنية في اسكتلندا، موسعًا نطاق أعماله ليشمل الشخصيات القائدة لحركة التنوير الاسكتلندي وليشتهر بتصويره للوحة الوزير المتزلج. كان غافين هاملتون وحامياه، الأخوان جون وألكساندر رانسيمان، وديفيد آلان رواد الحركة الكلاسيكية الحديثة. فكان ألكساندر رانسيمان رائد التصوير التاريخي (الرسم القصصي) وساعد آلان في تطوير فن تصوير الحياة اليومية، وكلا الموضوعين تناوله الفنانون الاسكتلنديون في القرن التالي. بعد قانونيّ الاتحاد عام 1707، كان هناك القليل جدًا من الرعاية للأعمال الفنية الكبيرة والمكلِّفة في اسكتلندا. مع نمو نزعة التطوير الوطني، تزايد الطلب على التماثيل العامة وأصبح البورترية النصفي معروفًا أيضًا. مالت تكليفات التماثيل الجديدة إلى صناعتها من رصاص رخيص نسبيًا بل ومن الجصّ المطلي أو المذهّب الأقل تكلفة. هناك أمثلة قليلة على أعمال الفنانين الاسكتلنديين من أواخر القرن الثامن عشر.
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