The Concise Oxford Dictionary of Art and Artists (435 page)

One of the most celebrated Greek sculptors, active in the mid 4th cent. BC. He is recorded as working on the Mausoleum of Halicarnassus, the temple of Artemis at Ephesus, and the temple of Athena Alea at Tegea, of which
Pausanias
says he was the architect. Sculptural remains from all three buildings have survived, and although none of them can be certainly associated with Scopas, it is likely that he is the author of certain pieces that show a distinctive style and are of a quality consonant with his elevated reputation. Among them are three slabs from the Mausoleum (BM, London) showing the Battle of Greeks and Amazons, which display the intensity of expression and the characteristically deep-set eyes that are considered typical of his work. Several other pieces have been associated with him on stylistic grounds. In spite of the lack of solid evidence, Scopas is presumed to have ranked with
Praxiteles
and
Lysippus
as the leading Greek sculptor of the mid to late 4th cent. BC, his work heralding the emotionalism of
Hellenistic
sculpture.

 
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(1495–1562).
Netherlandish painter, the first artist to bring the ideals of the Italian
Renaissance
to the area we today call Holland. He was born in Schoorel near Alkmaar, and after a varied artistic training worked in Utrecht with
Gossaert
, who probably encouraged him to visit Italy. Scorel set out in 1519: stopping at Speyer, Strasburg, Basle, and Nuremberg, he eventually reached Venice, where he joined a group of pilgrims and sailed to Cyprus, Rhodes, Crete, and on to Jerusalem. He returned to Venice the following year and finally made his way to Rome, where he found favour with Pope Adrian VI, a native of Utrecht. By 1524 Scorel was back in Utrecht, where he spent most of his life. His countrymen immediately ranked him as one of their leading artists, and he had contact with the courts of France, Spain, and Sweden. Most of Scorel's great altarpieces have been lost or destroyed, but enough of his work survives to show how he had studied
classical
sculpture and the works of
Raphael
and
Michelangelo
while he lived in Rome. His treatment of landscape and portraiture reveals that he was impressed by the Venetian masters
Giorgione
and
Palma Vecchio
. Unlike the works of many other Netherlandish masters, however, his pictures are no mere jumble of Renaissance motifs. The
Presentation in the Temple
(Kunsthistorisches Museum, Vienna) is set in a
Bramantesque
building and the proportion, movement, and drapery of the figures indicate that he understood what his Italian contemporaries were trying to achieve. On the other hand, his interest in atmospheric effects, in the play of light and shadow, and his fine landscape drawings are part of his Netherlandish heritage. The degree to which he was able to synthesize northern and southern elements in his figure compositions varies, but the quality of his portraits is uniformly high.

 
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(1878–1947).
British portrait sculptor, born Kathleen Bruce. She studied at the
Slade
School and in Paris under
Rodin
. In 1908 she married Captain Robert Falcon Scott (Scott of the Antarctic), who died on his return from the South Pole in 1912. Her most famous work is the statue commemorating him (unveiled 1915) in Waterloo Place, London. She did portrait busts of many other distinguished contemporaries. After her husband's death she was granted the rank of a widow of a Knight Commander of the Order of the Bath and was known as Lady Scott. In 1922 she married Lieutenant-Commander Edward Hilton-Young , who in 1935 became Baron Kennet; some reference books list her as Lady Kennet. Her son, Sir Peter Scott (1909–90), was one of the world's most distinguished ornithologists and also a noted painter and illustrator of wildfowl.

 
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(1702?–72).
English marine and topographical painter and etcher. He began as a marine painter in the tradition of the van de
Veldes
, but he turned to topographical views in the manner of
Canaletto
, who was then enjoying great success in England. He was not simply a mechanical imitator, however, and had a feeling for the English atmosphere that is lacking in Canaletto, who brought the Venetian light with him to England. Scott also could achieve a distinctive grandeur of design, as in
An Arch of Westminster Bridge
(Tate, London,
c.
1750), which is often considered his masterpiece. He left London in 1765 and settled in Bath for reasons of health, evidently painting little in his later years.

 
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Scott , Tim
.

See
NEW GENERATION
.

 
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