Значение слова "CELLINI, BENVENUTO" найдено в 3 источниках

CELLINI, BENVENUTO

найдено в "Renaissance and Reformation 1500-1620_ A Biographical Dictionary"

(1500-1571)
Benvenuto Cellini was an Italian goldsmith, sculptor, and author of treatises on sculpture and goldsmithing and of a celebrated autobiography. Cellini was born in Florence on 3 November 1500. Unwilling to follow in the footsteps of his father, Giovanni, a musician and maker of musical instruments, he chose instead to study the art of goldsmithery, receiving training from the Florentine goldsmith Marcone (Antonio di Sandro) and Francesco Castoro of Siena. The years 1519 until 1540 were spent chiefly in Rome, in the service of Popes Clement VII and Paul III, where Cellini found inspiration in the models of Michelangelo* and Raphael.* Nearly all of Cellini's masterpieces in jewelry and goldsmith's work have been lost, with the exception of the medallions of Clem­ent VII and Alessandro de' Medici and the elaborate gold and enamel saltcellar (1540—44) that he created for Francois I* (Kunsthistorisches Museum, Vienna).
Because of his quarrelsome nature, Cellini was involved continually in brushes with the law, some of which led to his imprisonment.In 1529 he killed a man in order to avenge the murder of his brother, but received pardon from the pope. In 1538, however, he was accused of stealing jewels from the papal treasury of Paul III and was subsequently imprisoned in Castel Sant' Angelo. As a result of the intercession of powerful friends, not the least of whom was Francois I, Cellini was released from prison in 1540. From then until 1545 he was employed at Paris and Fontainebleau in the service of the French court. It was during this period that he achieved recognition as a sculptor and produced what is believed to be his greatest achievement, the bronze relief of the Nymph of Fontainebleau (1543-44, Paris, Louvre).
In 1545 he returned to his native Florence, under the patronage of Duke Cosimo I de' Medici,* where he remained until his death in 1571. Among the sculptures that remain of his final period are Bust of Cosimo I (1545-48), Gan­ymede (1545-47), Perseus (1545-54), and Apollo and Hyacinth (1546), all in Florence; Bust of Bindo Altoviti (c. 1550, Boston); and his marble Crucifix (after 1556, Escorial).
During the latter part of his life, Cellini took on a new role, writing treatises on both sculpture and the art of goldsmithery (Florence, 1568). But of all his artistic achievements, the one that has secured him the greatest fame is his autobiography, written between 1558 and 1562 and circulated in manuscript. The first printed edition, in Italian, was published in Naples in 1728 (Vita di Benvenuto Cellini, 1728), with subsequent translations appearing in English (1771), German (1796), and French (1822). A highly impassioned, albeit em­bellished, account of Cellini's life as artist and adventurer, it gained attention during the romantic period and later served as a model for nineteenth-century historical novelists like Sir Walter Scott and Alexandre Dumas. The Life is remarkable for its enduring power to capture the imagination of modern readers, as it presents a stunningly vivid portrait of life in sixteenth-century Italian so­ciety. The poet Johann Wolfgang von Goethe, who translated the Life into German, wrote, "I see the whole century in more real terms in the confused apprehensions of an individual than in the clearest historical account."
Bibliography
B. Callin, The Autobiography ofBenvenuto Cellini, trans. George Bull, 1956. John Pope-Hennessy, Cellini, 1985.
Patricia A. White


найдено в "Historical Dictionary of Renaissance"

(1500-1571)
   Florentine sculptor and goldsmith, now best known for his Autobiography, first published in 1728. Apprenticed as a goldsmith in Florence, he had a brilliant but unstable career, largely because of his own moral irregularities, which he admitted, often boastfully, in his autobiography. He is commonly regarded as one of the greatest sculptors who worked in the mannerist style. As early as 1516 Cellini had to leave Florence and move to Siena because of his involvement in a brawl, and his autobiography describes his many acts of violence, including murder. He worked for several years in several Italian cities, including Rome.He left Rome after it was looted by the imperial army in 1527 but later returned and worked in the papal mint on the design of commemorative medals. Although he was charged with the murder of another goldsmith, Pope Paul III pardoned him. Cellini fled Rome in 1535 to escape arrest, worked in several Italian cities, visited France, was arrested while back in Rome, but escaped and eventually moved to France.
   There he won the favor of King Francis I and created a grand-scale bronze sculpture of a nymph for the palace at Fontainebleau, his earliest surviving large-scale work. Also from this period is his gold saltcellar, an elegant example of his work as a jeweller. In 1545 Cellini returned to Florence and created for Duke Cosimo I a grand-scale bronze statue of Perseus holding the severed head of Medusa, probably the finest of his large works. He also demonstrated his mastery of carving in marble by incorporating an ancient marble torso belonging to the duke into a statue of Ganymede.
   Cellini's difficult personality and disorderly life, as well as the changing tastes of his patron, caused him to lose favor at court, and although his life-size Crucifix (1562) again demonstrated his mastery of work in marble, he never regained the generous patronage he enjoyed in his early career. He was an overwhelming personality. That personality is reflected in all of Cellini's literary work, which included the only two of his works published in his own lifetime, treatises on goldsmithing and sculpture, as well as a substantial body of poetry, not published until modern times, and his famous Autobiography (1728), which was widely translated into other languages. This work contributed significantly to the exaggerated idea of undisciplined individualism, violence, sexual irregularity, and irreligion that dominated much writing about Renaissance Italy during the 18th and 19th centuries.


найдено в "Dictionary of Renaissance art"

(1500-1571)
   Florentine sculptor and goldsmith; among the most important figures of Mannerist sculpture. Cellini spent his early years in Rome, creating mainly medals and decorative objects. From 1540 to 1545, he worked for King Francis I of France for whom he created a gold and enamel salt cellar (1540-1544; Vienna, Kunsthistorisches Museum) adorned with figures of Neptune, god of the sea, and Tellus, goddess of the Earth, to denote the two places from which salt and pepper respectively originate.At the king's Palace of Fontainebleau, Cellini created a bronze relief lunette above a doorway depicting Diana, goddess of the hunt (1542-1544; Paris, Louvre). In 1545, he returned to Florence to work for Duke Cosimo I de' Medici, creating for him the Perseus and Medusa (1545-1554) to be placed in the Palazzo Vecchio's Loggia dei Lanzi alongside Donatello's Judith and Holofernes (1459). Cellini considered this pairing when he rendered his work. Both sculptures show the heroes reacting passively to the horror of the event and both feature two figures forming a vertical composition, with the victim resting on a cushion. Other works by Cellini include the bust portraits Bindo Altoviti (1549; Boston, Isabella Stewart Gardner Museum) and Cosimo I de'Medici (c. 1545-1548; Florence, Museo Nazionale del Bargello) and his Crucifixion in El Escorial (1556-1562). Cellini was also an author, penning his autobiography in 1558-1562, a work that reveals his egotistic personality, violent tendencies, and tumultuous life.


T: 44