the artist's figure yesterday and today (I° part)
The term "artist" is a relatively recent word, and its first usage can be collected in the XVIII century. Before that, the person who modeled clay was called creator, maker or "factorem". Therefore the word should be considered in relationship with its historicity because now it is used as a definition for a category which in the past wasn't so delineated. The artist's figure wasn't important because his production was viewed as an imitation of the nature.
It was only since the Reinassance that the recent meaning has appeared. The "factorem" transforms the reality through the thought and the help of God.
It starts a sort of "artistic divinization" which has its roots within the monotheistic religions, such as Catholicism and Judaism and the creation's myth.
Interesting are artists' biographies of '400 which to show the vision change within society. In fact, in these reportages, we can see how these artists had an arrogant attitude towards kings and cohorts due to their extraordinary technical ability and also for the interpretation of this role between divine and earthly.
Giorgio Vasari in" le vite dei più eccellenti pittori, scultori e architettori" in 1550 describes not only the production of each artist but also his childhood underlining how the capacity of creating art is connected to a natural talent.
The artist is inspired directly by God and has the characteristic of "genius".
Essential for this emancipation is the creation by Vasari of the first drawing's Academy in Florence in 1562. In this way came up the theoric basis for the distinction between artist and craftsman. The first, designed as an inventor of new shapes through mental elaboration; the second, the craftsman, who has been seen, vice-versa, as an object creator (think about furniture) predetermined from an old tradition continuously replicated thanks of a perfect knowledge of techniques rather than intellectual invention.
It will be only in the XVIII century, with the enlightenment period and the always much more growing interest in cultural and science which the artist's figure becomes institutionalized.
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An essential step in this emancipation was the creation by Vasari of the first Academy of Drawing in Florence in 1562. This is how ( I think you started with a "cosi" - which is not really a much-used modern English sentence structure. Though you could begin "Thus the theoretical basis" if you liked" ) the theoretical basis for the distinction between artist and craftsman was developed. The former, designated as an inventor of new shapes through mental elaboration; the latter, the craftsman, who has been seen, by contrtast,***** as a creator of objects (think about furniture) following old traditions continuously replicated thanks to a perfect knowledge of techniques rather than to intellectual invention. (The extra "to" refers back to the "thanks" a line back)
It will be only in the 18th century, with the Age of Enlightenment and the ever growing interest in culture and science, that the role of the artist becomes established.
It will be only in the 18th century, with the Age of Enlightenment and the ever growing interest in culture and science, that the role of the artist becomes established.
~ I struggled to work out your meaning for "the artist's figure". Often, "figure" in the arts context will be taken to mean the human form, but I think you mean much more "role in society", or "place in society", or even "persona". I eventually settled on this "artist's role" - sorry if you don't like it :( ! https://www.artworkarchive.com/blog/what-is-the-artist-s-role-in-society
*Two points here.
If you are writing in English about the word "artist" in English, then online etymology sources date this to the 1580s https://www.etymonline.com/word/artist If you want to write about the Italian word and strictly Italian experiences, you would probably need to make that clear by using several instances of "Italian" and "in Italy" at key places !
When we number centuries in English we have a number of choices - including Roman numerals - but I've suggested a change here based on the Associated Press stylebook. There are many other choices. I think in Italian there is a usage which drops the first 10 centuries - so "quattrocento" for what we call 15th century? We don't do that in English. http://icebergproject.co/italian/2016/10/how-to-say-the-year-and-century-in-italian/
https://erinwrightwriting.com/how-to-write-centuries/
** divinization is quite a rare or specialised theological word, I think. "Deification" might be a little more widely understood (by native English speakers). https://en.wikipedia.org/wiki/Apotheosis
https://en.wikipedia.org/wiki/List_of_creation_myths
*** "Artist biographies" is current usage in the art world, though "artists' biographies" is also possible and grammatical.
**** Again I'm obviously guessing a little at your meaning here. Sorry for any mistakes. But I think you probably mean "kings and other upper class or aristocratic people", or something similar. Cohort really has a different meaning in modern English. https://dictionary.cambridge.org/dictionary/english/cohort
We normally talk about an artist and her (his) work, or sometimes his output, and very rarely about his "production", unless as with some modern sculpture we are very interested in process, or unless this involves theatrical or moving image work.
***** vice versa doesn't really work here I think - https://www.dictionary.com/browse/vice-versa
https://en.wikipedia.org/wiki/Age_of_Enlightenment
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~The role of the artist, yesterday and today (Ist part) (we use 1st 2nd 3rd 4th others also take "th")
It is only since the Renaissance that the current meaning has appeared. (Or "It was only in the Renaissance that the current meaning appeared." ) The "factorem" transforms (the) reality through (the) thought and with (you don't need the "with", but it might help) the help of God. It starts a sort of "artistic divinization"** which has its roots in the monotheistic religions, such as Catholicism and Judaism, and the creation myth.
Artist biographies*** from the 15th century (or "from the 1400s") are interesting, and start to show an attitude (I think this is what you mean - the changing views about "artists" of society in general) change within society. In fact, in these reports, we can see how these artists had an arrogant attitude towards kings and courtiers****, due to their extraordinary technical ability, and also because of this interpretation of their role as between divine and earthly.
("... their role in bringing divine inspiration to human activity ..." - I haven't quite fixed this, have I. Hmm.)
Giorgio Vasari in "le vite dei più eccellenti pittori, scultori e architettori" in 1550 describes not only the work of each artist but also his childhood, underlining how the capacity to create art is connected to a natural talent.
The artist is inspired directly by God and has the characteristic of "genius".
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I should have said well done. This is complex writing, even for an English native reader - well executed and interesting.
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