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Benvenuto Cellini was born in Florence, in present-day Italy. His parents were Giovanni Cellini and Maria Lisabetta Granacci. His parents were Giovanni Cellini and Maria Lisabetta Granacci. They were married for 18 years before the birth of their first child.
His “common sense and his feeling for justice won his subjects’ affection”; and he “enjoyed some status as the champion of the poor and the helpless, as ballads and novelle record.” [25] [16] He was also a patron of the arts, commissioning notable works by Giorgio Vasari, Jacopo Pontormo, Benvenuto Cellini, and Antonio da Sangallo the ...
Nymph of Fontainebleau at the Louvre (H. 2.05 m; L. 4.09 m) [1]. The Nymph of Fontainebleau (French: Nymphe de Fontainebleau), also known as the Nymph of Anet (French: Nymphe d'Anet) or the Nymph with the Stag (French: Nymphe au cerf), is a c.‑1543 bronze relief (Paris, Louvre, MR 1706 [1]), created by the Italian sculptor Benvenuto Cellini for the Château de Fontainebleau in France.
The Saliera. The Cellini Salt Cellar (in Vienna called the Saliera, Italian for salt cellar) is a part-enamelled gold table sculpture by Benvenuto Cellini (c.1500-1571). It was completed in 1543 for Francis I of France (r.1515-1547), from silver plate models that had been prepared many years earlier for Cardinal Ippolito d'Este (c.1479-1520).
A Violent Life (Italian: Una vita scellerata, also known as Cellini: A Violent Life) is a 1990 Italian biographical drama film directed by Giacomo Battiato. It depicts real life events of goldsmith and sculptor Benvenuto Cellini. [1] [2]
Benvenuto Cellini, eyewitness to the events, described the sack in his works. It was not until February 1528 that the spread of a plague and the approach of the League forces under Odet de Foix forced the army to withdraw towards Naples from the city. Rome's population had dropped from 55,000 to 10,000 due to the atrocities, famine, an outbreak ...
He also sculpted a young Benvenuto Cellini, annoyed of having to play the flute for his father, lays the instrument on his stool, and stretches in an act of extreme disgust. He submitted proposals for monuments to Vittorio Emanuele for Venice and Turin. While not chosen, his proposal at Turin was awarded a 4000-lire prize, at Venice, 2500 lire.
Benvenuto Cellini's physical appearance is determined based on a number of his lifetime portraits. However, due to a few known portraits from the 17th – 20th century, where the artists drew Cellini's facial traits from their imagination, as well as because of past posthumous erroneous attributions, there is a level of confusion on this subject.