Benvenuto Cellini


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Cellini, Benvenuto

(chĕlē`nē, Ital. bānvāno͞o`tō chāl-lē`nē), 1500–1571, Italian sculptor, metalsmith, and author. His remarkable autobiography (written 1558–62), which reads like a picaresque novel, is one of the most important documents of the 16th cent. Cellini tells of his escapades with the frankness and consummate egoism characteristic of the Renaissance man. He was born in Florence, the son of a musician; he studied music until his 15th year, when he was apprenticed to a goldsmith. Banished from Florence after fighting a duel, he went from town to town working for local goldsmiths and in 1519 went to Rome. Under the patronage of Pope Clement VII he became known as the most skillful worker in metals of his day, producing medals, jewel settings, caskets, vases, candlesticks, metal plates, and ornaments. Imprisoned on false charges, he worked at the court of Francis I at Paris after his release. He returned to Florence (1545), remaining until his death. The decorative quality of his work, its intricate and exquisite detail, and its workmanship are typical of the best of the period. Unfortunately, most of his works have perished. The famous gold and enamel saltcellar (Saliera) of Francis I (Vienna Mus.) and the gold medallion of Leda and the Swan (Vienna Mus.) are perhaps the best examples of those remaining. His sculptures, most of them executed in the later Florentine period, include the colossal bronze bust of Cosimo I (Bargello); the bronze bust of Altoviti (Gardner Mus., Boston); the Nymph of Fontainebleau (Louvre); the life-size Crucifixion, a white marble Jesus on a black cross (Escorial); and the renowned Perseus with the Head of Medusa (Loggia dei Lanzi, Florence), a beautifully wrought bronze statue surmounting a marble pedestal lavishly adorned with statuettes and carvings.

Bibliography

See translation of his autobiography by J. A. Symonds (1888; many later editions).

Cellini, Benvenuto

 

Born Nov. 3, 1500, in Florence; died there Feb. 13, 1571. Italian sculptor, goldsmith, and writer.

Cellini studied with the goldsmith M. Bandinelli and was influenced by Michelangelo. He worked in Florence, Pisa, Bologna, Venice, Rome (1532–40), and Paris, as well as at the court of Francis I at Fontainebleau (1540–45).

One of the most notable masters of mannerism, Cellini produced virtuoso sculptures and jewelry marked by delicate, exaggeratedly elongated figures, often with complex curves. Examples are the saltcellar made for Francis I (gold, enamel, precious gems; 1539–43, Museum of Art History, Vienna), Narcissus (marble, 1540’s, National Museum, Florence), and The Escorial Crucifix (marble, 1562, the Escorial, Spain). Cellini boldly resolved the problems of creating sculptures in the round, especially in the statue Perseus With the Head of Medusa (bronze, 1545–54, Loggia dei Lanzi), which, like many of Cellini’s other works, is characterized by excessive detail.

Cellini gained world fame as a writer from his Life, which he dictated between 1558 and 1565 (1st ed., 1728; Russian translation, 1848). An autobiography reading like a picaresque novel, Cellini’s Life is noted for directness of narration. Ignoring the norms of literary style and the rules of grammar, Cellini used the language of the streets to re-create vividly the personality of the late Renaissance man in Italy.

Cellini also was interested in art theory. In 1568 he wrote two treatises, one on goldsmithing and the other on sculpture.

WORKS

Vila, a cura di G. G. Ferrero. Turin, 1959.
In Russian translation:
Zhizn’. Translated by M. Lozinskii. Introduction by A. K. Dzhivelegov. Moscow-Leningrad [1931].
Zhizn, 2nd ed. Translated by M. Lozinskii. Introduction by L. Pinskii. Moscow, 1958.

REFERENCES

Dzhivelegov, A. K. Ocherki ital’ianskogo Vozrozhdeniia. Kastil’one, Aretino, Chellini. Moscow, 1929.
Vipper, B. R. “Benvenuto Chellini.” In Stat’i ob iskusstve. [Moscow, 1970.]
Camesasca, E. Tutta l’opera del Cellini. Milan, 1955.
Calamandrei, P. Scritti e inediti celliniani. Florence, 1971.

Cellini, Benvenuto

(1500–1571) Italian sculptor and author of important autobiography. [Ital. Lit.: NCE, 488]
References in periodicals archive ?
Nel 1570, Benvenuto Cellini si trovo ancora una volta a tentare di dare voce alle proprie ragioni nel quadro di un impari rapporto con Cosimo de' Medici.
But after getting her master's degree in piano she was subsequently hired by the Metropolitan Opera in New York and made her Met debut in 2003 as an extra chorister in "Benvenuto Cellini.''
Among the luminaries of the time who praised or depicted romantic liaisons with youths were Theophile de Viau, Marsilio Ficino, Benvenuto Cellini, Caravaggio, Leonardo da Vinci and Michelangelo.
Two strong recommendations: Mama Rosa (at Piazza Cincinnato 4 on Via San Gregorio) and Da Giacomo (at Via Sottocorno 6 Angolo via Benvenuto Cellini).
(A contemporary visitor to his studio was .astonished to find 22 small models for the figure of St Longinus, remarking that most sculptors madeonly one or two models.) But, in fact, Vasari and fellow art theorist Benvenuto Cellini wanted it both ways: they promulgated the romantic notion of raw genius, yet urged artists in practice to progress logically from sketch to intermediate study to full-scale model.
The Autobiography of Benvenuto Cellini by Benvenuto Cellini
Now the ENO has announced he is to return in 2014 to present Berlioz's Benvenuto Cellini, described as a "technically challenging" production about the life of the Florentine sculptor.
The bronze statue, Perseus with the Head of Medusa, by the Mannerist sculptor Benvenuto Cellini, depicts the moment directly after the demigod Perseus chops off Medusa's head, thereby fulfilling his promise to deliver it to the abusive King Polydektes of Seriphos, who is planning to marry his mother, Daena, against her will.
Con el se revaloro el enorme legado concertistico y sobre todo orquestal de este gran romantico frances por antonomasia, si bien resultaria particularmente decisivo su rescate en especial de complejas operas que como Los troyanos o Benvenuto Cellini acabaron por ingresar en los repertorios de los teatros belcantisticos.
Peter Betjemann is already known to readers of Nineteenth-Century Prose from his lead essay in the Fall 2009 issue (36/2) that was titled "Craft, Telos, and the Representation of Labor: Nineteenth-Century Readings of Benvenuto Cellini."
298--"Schiller's translation of Benedetto Cenelli": Frau Stohr means Goethe's translation of Benvenuto Cellini
(3.) Written around 1558, it was published in Italy in1728 as La Vita di Benvenuto Cellini. Five English translations appeared between 1771 and 1910.