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Collyer, Joseph, A portrait of Benvenuto Cellini. Engraving. 26.5 cm by 14 cm. (1771) National Library, Vienna. Inventory number 8191345. In 1891, French book-publisher Eugene Plon called into question the attribution of personalities on the fresco, which had until then been regarded as authentic since the 16th century. [5]
Benvenuto Cellini (/ ˌ b ɛ n v ə ˈ nj uː t oʊ tʃ ɪ ˈ l iː n i, tʃ ɛ ˈ-/, Italian: [beɱveˈnuːto tʃelˈliːni]; 3 November 1500 – 13 February 1571) was an Italian goldsmith, sculptor, and author.
Portrait of a Gonfaloniere; Portrait of a Musician; Portrait of a Nun (Artemisia Gentileschi) Portrait of a Young Man (Barocci) Portrait of a Young Man (Giorgione, Budapest) Portrait of a Young Man holding a Roundel; Portrait of Alvise Cornaro; Portrait of an Actor; Portrait of Charles of Bourbon in Hunting Dress; Portraits of Benvenuto Cellini
Benvenuto Cellini, reporting a conversation with Torrigiano, relates that he and Michelangelo, while both young, were copying Masaccio's frescoes in the Carmine chapel, when some slighting remark made by Michelangelo so enraged Torrigiano that he struck him on the nose, breaking it. The disfigurement is conspicuous in all the portraits of ...
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Nymph of Fontainebleau, Benvenuto Cellini, bronze, c. 1543, Louvre (H. 2.05 m; L. 4.09 m) [10]. Gothic architecture, and Gothic art in general, had a limited penetration in Italy, arriving late and mostly affecting the far north, Venice and Lombardy in particular, often only as an ornamental style in borders and capitals. [11]
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