Benvenuto Cellini (1500-71) and "Rainstopping" S
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Cellini Vs Michelangelo: a Comparison of the Use of Furia, Forza, Difficultà, Terriblità, and Fantasia
International Journal of Art and Art History December 2018, Vol. 6, No. 2, pp. 22-30 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v6n2p4 URL: https://doi.org/10.15640/ijaah.v6n2p4 Cellini vs Michelangelo: A Comparison of the Use of Furia, Forza, Difficultà, Terriblità, and Fantasia Maureen Maggio1 Abstract: Although a contemporary of the great Michelangelo, Benvenuto Cellini is not as well known to the general public today. Cellini, a master sculptor and goldsmith in his own right, made no secret of his admiration for Michelangelo’s work, and wrote treatises on artistic principles. In fact, Cellini’s artistic treatises can be argued to have exemplified the principles that Vasari and his contemporaries have attributed to Michelangelo. This paper provides an overview of the key Renaissance artistic principles of furia, forza, difficultà, terriblità, and fantasia, and uses them to examine and compare Cellini’s famous Perseus and Medusa in the Loggia deiLanzi to the work of Michelangelo, particularly his famous statue of David, displayed in the Galleria dell’ Accademia. Using these principles, this analysis shows that Cellini not only knew of the artistic principles of Michelangelo, but that his work also displays a mastery of these principles equal to Michelangelo’s masterpieces. Keywords: Cellini, Michelangelo, Renaissance aesthetics, Renaissance Sculptors, Italian Renaissance 1.0Introduction Benvenuto Cellini was a Florentine master sculptor and goldsmith who was a contemporary of the great Michelangelo (Fenton, 2010). Cellini had been educated at the Accademiade lDisegno where Michelangelo’s artistic principles were being taught (Jack, 1976). -
Benvenuto Cellini (1500-1571)
Benvenuto Cellini (1500-1571) Born:-1500 ,Florence Died:- 1571 ,Florence Nationality:- Italian Education:- Accademia delle Arti del Disegno Known for:- Goldsmith, sculptor, painter Movement:- Mannerism Introduction:- Mannerist sculptor, goldsmith, technical writer and author, Benvenuto Cellini wrote a famous fast-paced autobiography, which arguably has given him a wider reputation than that justified by his works alone. Nevertheless, art historians now consider him to be one of the most important Renaissance sculptors, and his statue of Perseus with the head of Medusa is regarded as one of the masterpieces of 16th-century Florentine art. Cellini also wrote a number of technical books on goldsmithing, design and the art of sculpture. Cellini's career during the cinquecento may be divided into three basic periods:- (1) 1500-40, during which time he worked mostly with precious metals (2) 1540-45, when he worked in France for King Francis I at Fontainebleau (3) the remainder of his life in Florence, where he took up large-scale freestanding sculpture. Prone to violence and debauchery, as well as the creation of precious metalwork and other 3-D art, Cellini was probably lucky to live as long as he did. Biography:- Benvenuto Cellini was the third child of the musician Giovanni Cellini. At the age of fifteen, contrary to the hopes of his father, he was apprenticed to the Florentine goldsmith Antonio di Sandro. The following year he fled to Siena to escape charges of riotous behaviour, where he continued his training under the goldsmith Fracastoro. From Siena he moved to Bologna, visited Pisa and returned twice to Florence, before leaving for Rome. -
Gender Dynamics in Renaissance Florence Mary D
Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed. -
Electricity and Magnetism (Cont'd), Light and Optics
Problems 931 53. Suppose you install a compass on the center of a car’s needle” is a magnetic compass mounted so that it can dashboard. (a) Assuming the dashboard is made rotate in a vertical north–south plane. At this location, mostly of plastic, compute an order-of-magnitude esti- a dip needle makes an angle of 13.08 from the vertical. mate for the magnetic field at this location produced What is the total magnitude of the Earth’s magnetic by the current when you switch on the car’s headlights. field at this location? (b) How does this estimate compare with the Earth’s 59. A very large parallel-plate capacitor has uniform magnetic field? S charge per unit area 1s on the upper plate and 2s 54. Why is the following situation impossible? The magnitude on the lower plate. The plates are horizontal, and both of the Earth’s magnetic field at either pole is approxi- move horizontally with speed v to the right. (a) What mately 7.00 3 1025 T. Suppose the field fades away to is the magnetic field between the plates? (b) What is zero before its next reversal. Several scientists propose the magnetic field just above or just below the plates? plans for artificially generating a replacement mag- (c) What are the magnitude and direction of the mag- netic field to assist with devices that depend on the netic force per unit area on the upper plate? (d) At presence of the field. The plan that is selected is to lay what extrapolated speed v will the magnetic force on a a copper wire around the equator and supply it with a plate balance the electric force on the plate? Suggestion: current that would generate a magnetic field of magni- Use Ampere’s law and choose a path that closes tude 7.00 3 1025 T at the poles. -
Autobiography of Benvenuto Cellini November 3, 1500 – February 13, 1571
Autobiography of Benvenuto Cellini November 3, 1500 – February 13, 1571 I ALL men of whatsoever quality they be, who have done anything of excellence, or which may properly resemble excellence, ought, if they are persons of truth and honesty, to describe their life with their own hand; but they ought not to attempt so fine an enterprise till they have passed the age of forty. This duty occurs to my own mind now that I am travelling beyond the term of fifty-eight years, and am in Florence, the city of my birth. Many untoward things can I remember, such as happen to all who live upon our earth; and from those adversities I am now more free than at any previous period of my career-nay, it seems to me that I enjoy greater content of soul and health of body than ever I did in bygone years. I can also bring to mind some pleasant goods and some inestimable evils, which, when I turn my thoughts backward, strike terror in me, and astonishment that I should have reached this age of fifty-eight, wherein, thanks be to God, I am still travelling prosperously forward. II IT is true that men who have laboured with some show of excellence, have already given knowledge of themselves to the world; and this alone ought to suffice them; I mean the fact that they have proved their manhood and achieved renown. Yet one must needs live like others; and so in a work like this there will always be found occasion for natural bragging, which is of divers kinds, and the first is that a man should let others know he draws his lineage from persons of worth and most ancient origin. -
Cellini's Perseus and Medusa: Configurations of the Body
CELLINI’S PERSEUS AND MEDUSA: CONFIGURATIONS OF THE BODY OF STATE by CHRISTINE CORRETTI Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Dissertation Advisor: Professor Edward J. Olszewski Department of Art History CASE WESTERN RESERVE UNIVERSITY January, 2011 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of Christine Corretti candidate for the Doctor of Philosophy degree.* (signed) Professor Edward J. Olszewski (chair of the committee) Professor Anne Helmreich Professor Holly Witchey Dr. Jon S. Seydl (date) November, 2010 *We also certify that written approval has been obtained for any proprietary material contained therein. 1 Copyright © 2011 by Christine Corretti All rights reserved 2 Table of Contents List of Illustrations 4 Abstract 9 Introduction 11 Chapter 1 The Story of Perseus and Medusa, an Interpretation 28 of its Meaning, and the Topos of Decapitation Chapter 2 Cellini’s Perseus and Medusa: the Paradigm of Control 56 Chapter 3 Renaissance Political Theory and Paradoxes of 100 Power Chapter 4 The Goddess as Other and Same 149 Chapter 5 The Sexual Symbolism of the Perseus and Medusa 164 Chapter 6 The Public Face of Justice 173 Chapter 7 Classical and Grotesque Polities 201 Chapter 8 Eleonora di Toledo and the Image of the Mother 217 Goddess Conclusion 239 Illustrations 243 Bibliography 304 3 List of Illustrations Fig. 1 Benvenuto Cellini, Perseus and Medusa, 1545-1555, 243 Loggia dei Lanzi, Florence, Italy. Fig. 2 Donatello, Judith and Holofernes, c. 1446-1460s, Palazzo 244 Vecchio, Florence, Italy. Fig. 3 Heracles killing an Amazon, red figure vase. -
Catalogue of New Plays 2016–2017
PRESORTED STANDARD U.S. POSTAGE PAID GRAND RAPIDS, MI PERMIT #1 Catalogue of New Plays 2016–2017 ISBN: 978-0-8222-3542-2 DISCOUNTS See page 6 for details on DISCOUNTS for Educators, Libraries, and Bookstores 9 7 8 0 8 2 2 2 3 5 4 2 2 Bold new plays. Recipient of the Obie Award for Commitment to the Publication of New Work Timeless classics. Since 1936. 440 Park Avenue South, New York, NY 10016 Tel. 212-683-8960 Fax 212-213-1539 [email protected] OFFICERS Peter Hagan, President Mary Harden, Vice President Patrick Herold, Secretary David Moore, Treasurer Stephen Sultan, President Emeritus BOARD OF DIRECTORS Peter Hagan Mary Harden DPS proudly represents the Patrick Herold ® Joyce Ketay 2016 Tony Award winner and nominees Jonathan Lomma Donald Margulies for BEST PLAY Lynn Nottage Polly Pen John Patrick Shanley Representing the American theatre by publishing and licensing the works of new and established playwrights Formed in 1936 by a number of prominent playwrights and theatre agents, Dramatists Play Service, Inc. was created to foster opportunity and provide support for playwrights by publishing acting editions of their plays and handling the nonprofessional and professional leasing rights to these works. Catalogue of New Plays 2016–2017 © 2016 Dramatists Play Service, Inc. CATALOGUE 16-17.indd 1 10/3/2016 3:49:22 PM Dramatists Play Service, Inc. A Letter from the President Dear Subscriber: A lot happened in 1936. Jesse Owens triumphed at the Berlin Olympics. Edward VIII abdicated to marry Wallis Simpson. The Hindenburg took its maiden voyage. And Dramatists Play Service was founded by the Dramatists Guild of America and an intrepid group of agents. -
Christopher Hampton, John Patrick Shanley, Patricia Marx and Theresa Rebeck December 2009 | Volume #31
IN THIS ISSUE: Christopher Hampton, John Patrick Shanley, Patricia Marx and Theresa Rebeck December 2009 | Volume #31 EDITOR A NOTE FROM THE EDITOR Arlene Hellerman Donald Westlake often said, “When I write a COPY EDITOR novel, I’m God, and when I write a screenplay, Shelley Wolson I’m cup-bearer to the gods.” The same could be DESIGNER said of the relationship between screenwriting Tom Beckham and playwriting. SUPERVISING CONSULTANT The conversations in this issue cover both Marsha Seeman of these genres. John Patrick Shanley and CONSULTANT Christopher Hampton talk about playwriting, Nicole Revere screenwriting and directing. Theresa Rebeck and Patricia Marx talk about writing plays and films, ADVISOR but also about the process of writing prose. Marc Siegel On The Back Page we’re publishing Gina Gionfriddo’s one-act play America’s Got Tragedy. Michael Winship | president Bob Schneider | vice president Gail Lee | secretary-treasurer — Arlene Hellerman Lowell Peterson | executive director All correspondence should be addressed to The Writers Guild of America, East 555 West 57th Street New York, New York 10019 Telephone: 212-767-7800 Fax: 212-582-1909 www.wgaeast.org Copyright © 2009 by the Writers Guild of America, East, Inc. Christopher Hampton AND John Patrick Shanley New York CitY – April 27, 2009 SHANLEY: I have questions for you. HAMPTON: Between 5 and 10. HAMPTON: Oh, do you? ON WRITING: Do you think that gave you a different perspective when you got back to England? Did you SHANLEY: Questions that are sort of simple but inter- see it as an outsider? esting to me. One is, when you started writing, was there either a play that you wanted to do something HAMPTON: Yes, very much so. -
Benvenuto Cellini : Opéra En Deux Actes / Paroles De Léon De Wailly Et Auguste Barbier ; Musique De Hector Berlioz
Benvenuto Cellini : opéra en deux actes / paroles de Léon de Wailly et Auguste Barbier ; musique de Hector Berlioz Source gallica.bnf.fr / Bibliothèque nationale de France Wailly, Léon de (1804-1863). Auteur du texte. Benvenuto Cellini : opéra en deux actes / paroles de Léon de Wailly et Auguste Barbier ; musique de Hector Berlioz. 18... 1/ Les contenus accessibles sur le site Gallica sont pour la plupart des reproductions numériques d'oeuvres tombées dans le domaine public provenant des collections de la BnF. Leur réutilisation s'inscrit dans le cadre de la loi n°78-753 du 17 juillet 1978 : - La réutilisation non commerciale de ces contenus ou dans le cadre d’une publication académique ou scientifique est libre et gratuite dans le respect de la législation en vigueur et notamment du maintien de la mention de source des contenus telle que précisée ci-après : « Source gallica.bnf.fr / Bibliothèque nationale de France » ou « Source gallica.bnf.fr / BnF ». - La réutilisation commerciale de ces contenus est payante et fait l'objet d'une licence. Est entendue par réutilisation commerciale la revente de contenus sous forme de produits élaborés ou de fourniture de service ou toute autre réutilisation des contenus générant directement des revenus : publication vendue (à l’exception des ouvrages académiques ou scientifiques), une exposition, une production audiovisuelle, un service ou un produit payant, un support à vocation promotionnelle etc. CLIQUER ICI POUR ACCÉDER AUX TARIFS ET À LA LICENCE 2/ Les contenus de Gallica sont la propriété de la BnF au sens de l'article L.2112-1 du code général de la propriété des personnes publiques. -
The Birth of Artist-Authors and the Negozio Dell'inestimabile
Journal of Early Modern Studies, vol. 1, n. 1 (2012), pp. 195-210 http://www.fupress.com/bsfm-jems The Birth of Artist-Authors and thenegozio dell’inestimabile Corinne Lucas Fiorato Université Sorbonne Nouvelle-Paris 3 ([email protected]) Abstract Already in the fourteenth century, poets such as Dante and Petrarch were unanimously considered Authors, while visual artists still had to strive hard, in the following cen- tury, to gain such recognition. While, on the one hand, they reshaped the nature of their work by bestowing a new identity on the objects they produced, on the other, they tried to redefine their relationship with their clients and patrons. If, on paper, Vasari’s monumental Vite codified these new attitudes for the following centuries, in everyday reality they were little appreciated. The products which artists created, furthermore, were of a particular nature, in part material and in part spiritual. This fact implied a paradox, since the spiritual dimension of the art work imposed itself in the very moment in which the work became an extraordinary market object, thanks to the rise of collecting and patronage. The idea that a work of art is priceless arose precisely when they became very expensive commercial objects, acquiring an important function in the economy of the Italian States. Starting from the writings of Benvenuto Cellini and Vasari’s Ragionamenti, this article discusses the tensions generated by the commercial exchange of the inestimabile. Keywords: Art Objects, Artist-Authors, Cellini, Vasari. 1. Introduction If, already by the fourteenth century, the authoritativeness of the poets who wrote in the vernacular did not pose any problems, as we can see from the biographies of Dante and Petrarch written shortly after the death of the former and, even before that of the latter (Bartuschat 2007), that of visual artists had, on the other hand, difficulty in coming to the fore. -
Download 2018–2019 Catalogue of New Plays
Catalogue of New Plays 2018–2019 © 2018 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Dear Subscriber: Take a look at the “New Plays” section of this year’s catalogue. You’ll find plays by former Pulitzer and Tony winners: JUNK, Ayad Akhtar’s fiercely intelligent look at Wall Street shenanigans; Bruce Norris’s 18th century satire THE LOW ROAD; John Patrick Shanley’s hilarious and profane comedy THE PORTUGUESE KID. You’ll find plays by veteran DPS playwrights: Eve Ensler’s devastating monologue about her real-life cancer diagnosis, IN THE BODY OF THE WORLD; Jeffrey Sweet’s KUNSTLER, his look at the radical ’60s lawyer William Kunstler; Beau Willimon’s contemporary Washington comedy THE PARISIAN WOMAN; UNTIL THE FLOOD, Dael Orlandersmith’s clear-eyed examination of the events in Ferguson, Missouri; RELATIVITY, Mark St. Germain’s play about a little-known event in the life of Einstein. But you’ll also find plays by very new playwrights, some of whom have never been published before: Jiréh Breon Holder’s TOO HEAVY FOR YOUR POCKET, set during the early years of the civil rights movement, shows the complexity of choosing to fight for one’s beliefs or protect one’s family; Chisa Hutchinson’s SOMEBODY’S DAUGHTER deals with the gendered differences and difficulties in coming of age as an Asian-American girl; Melinda Lopez’s MALA, a wry dramatic monologue from a woman with an aging parent; Caroline V. McGraw’s ULTIMATE BEAUTY BIBLE, about young women trying to navigate the urban jungle and their own self-worth while working in a billion-dollar industry founded on picking appearances apart. -
Portraits of Benvenuto Cellini and Anthropological Methods of Their Identification
INTERNATIONAL JOURNAL OF ENVIRONMENTAL & SCIENCE EDUCATION 2016, VOL. 11, NO. 4, 9839-9855 OPEN ACCESS Portraits of Benvenuto Cellini and Anthropological Methods of their Identification Oleg Nasobina aFederal Drug Control Service of Russia, Moscow, RUSSIA ABSTRACT Modern methods of biometric identification are increasingly applied in order to attribute works of art. They based on developed in the 19th century the anthropological methods. So, this article describes how the successional anthropological methods were applied for the identification of Benvenuto Cellini’s portraits. Objective comparison of facial parameters was used for a scientific method of face-biometrical identification. For purposes of biometric identification of Benvenuto Cellini’s face through anthropological comparison 12 works of art were selected, in each of the selected portraits the following six anatomic points were marked, according to the Perrot’s method were calculated ratio, which were analyzed. The biometric parameters of faces under comparison by the Perrot’s method are represented as an arithmetic mean of the values of angles and indicators. The main characteristic facial details of Cellini’s works, such as the shape of nose, eyes, protruding lower lip and eyebrows are identified. KEYWORDS ARTICLE HISTORY Benvenuto Cellini, mannerism, anthropological Received 20 April 2016 comparisons, attributions, identification Revised 28 April 2016 Accepted 9 September 2016 Introduction In his tome “Benvenuto Cellini” Dr. Pope-Hennessy compares the rough, grotesque face found on the back of the “Perseus” head (“an elderly male head wit vacant eye sockets”) (Fig.1, Right) with "one authentic portrait" of Benvenuto by Vasari (Pope- Hennessy, 1985) (Fig. 2, Left). In doing so, Dr.