Podcasts about Benvenuto Cellini

Tommaso Mozzati"Per discrezione, per tatto, per modestia"Irene BrinElectawww.electa.itFirma di grido della cronaca mondana, Irene Brin (nata Maria Vittoria Rossi nel 1911), è stata protagonista di una vita sfolgorante, osservatrice acuta in straordinari pezzi di costume, scrittrice e critica inflessibile di libri e pellicole, promotrice per case di moda ricercate, gallerista di successo, frequentatrice del jet-set internazionale.Una donna à la page, cosmopolita, che ha attraversato la storia d'Italia, dal Fascismo agli anni frenetici del boom, sotto il segno di una raffinata modernità, colta e spregiudicata, senza confini d'ambiti o di generi. Tagliente e felice.Il volume fa parte della collana OILÀ, curata da Chiara Alessi, che presenta le storie di protagoniste del Novecento. Figure femminili che, nel panorama ‘creativo' italiano e internazionale (dal design alla moda, dall'architettura alla musica, dall'illustrazione alla grafica, dalla fotografia alla letteratura) si sono distinte in rapporto a discipline e mestieri ritenuti da sempre appannaggio dell'universo maschile. I libri, pensati per essere letti ad alta voce dall'inizio alla fine in quarantacinque minuti -un viaggio breve-, sono racconti di persone condotti attraverso una lente speciale sulle loro biografie, i lavori, i fatti privati e i risultati pubblici.Il progetto grafico è a cura dello Studio Sonnoli.Tommaso MozzatiRicercatore presso l'Università degli Studi di Perugia, insegna Storia dell'Arte Comparata in Europa in Epoca Moderna. Ha pubblicato numerosi contributi dedicati alla scultura italiana del Rinascimento e del Manierismo, consacrati a personalità di primo piano come Desiderio da Settignano, Michelangelo, Leonardo, Giovanfrancesco Rustici, Benvenuto Cellini e Giambologna.https://ilpostodelleparole.it/tommaso-mozzati/piccolo-sogni-di-vestiti-e-damore/IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

A 69. adás vendége Tamás Lóránt aranyműves mester. .Lóránt egy családi vállalkozáson keresztül, kemény munkával és alázattal alapozta meg hírnevét a szakmában, az igazi fordulópont azonban akkor következett el az életében, amikor úgy döntött, új életet lehel a családban több generáció óta öröklődő zsebórába. Az eredmény nagy hatást váltott ki környezetében, és hamarosan szélesebb körben ismertté tette. A hónapokon át nagy műgonddal készülő, egyedi kialakítású óráira ma már szerte a világból érkeznek megrendelések. A Párisi Udvarban található üzletében azonban nem csak ezeket lehet látni: Lóránt az első, aki az ékszerkészítés csúcsát képviselő Fabergé márkát is be tudta hozni Magyarországra. Igazi sikertörténet ez tehát, melynek hátterében számtalan tanulság és hasznos útravaló rejtőzik..A műsorban beszélgetünk Lóránt családjának történetéről, a hagyományok fontosságáról és megismerjük azokat az alapélményeket, amelyek életét formálták. Részletesen kérdezem karrierútjáról és a sikeréhez, elismertségéhez hozzájáruló összetevőkről. Elmélyülünk az aranyművesség, az órákhoz kapcsolódó lélekmentés és a Fabergé patinás világában is, szokás szerint megannyi személyes történettel fűszerezve..Jó szórakozást kívánok hozzá!--------FONTOS:A wopcast-et támogathatod Patreon-on és egyszerű utalással is..Patreon:https://www.patreon.com/wopcast.Az utalás ide érkezhet:Kocsány Kornél - CIB Bank10700495-62634067-51100005--------Tamás Lóránt:https://www.tamaslorant.com/https://www.instagram.com/tamas_lorant_jeweler/--------A Fabergé márkáról bővebben:https://www.tamaslorant.com/fabergehttps://www.faberge.com/https://www.instagram.com/officialfaberge/https://www.instagram.com/fabergehungary/--------A Lóránt által említett ajánlók:.Benvenuto Cellini élete https://www.libri.hu/konyv/benvenuto_cellini.benvenuto-cellini-elete.html.A Romanovok utolsó napjaihttps://moly.hu/konyvek/helen-rappaport-a-romanovok-utolso-napjai.Órás szakmai ismeretek:https://digitalia.lib.pte.hu/hu/pub/valyi-oras-szakmai-ismeretek-muszaki-kvk-bp-1967-717--------A wopcast, a wonderzofphotography és a wonderzofpainting:https://www.facebook.com/wopcastforlifehttps://www.facebook.com/wonderzofphotographyhttps://www.instagram.com/wopcast_hunhttps://www.instagram.com/wonderzofphotographyhttps://www.facebook.com/wonderzofpaintinghttps://www.instagram.com/wonderzofpaintingwww.youtube.com/@wopcast--------Ha bármi kérdésetek, kérésetek lenne, keressetek bátran a wonderzofphotography@gmail.com emailcímen vagy közvetlenül bármelyik közösségi médiás felületen.--------Műsorvezető: © Kocsány Kornélhttps://linktr.ee/kornelkocsanyArculatfelelős: © Kocsány Ákoshttps://linktr.ee/wyldebeest

Neben Leonardo da Vinci, Michelangelo und Raffael gehört er eher zu den weniger bekannten Renaissance-Künstlern. Zweifellos aber gehört Benvenuto Cellini nicht zu den weniger interessanten, wenngleich sein Werk neben den anderen eher überschaubar ist. Aber in seinen berühmten Skulpturen, aus denen der Perseus aus der Loggia dei Lanzi hervorragt, spiegelt sich ein Künstlerleben, das die Gründe und vor allem Abgründe eines genialischen und kreativen Menschen der Renaissance zeigt. Der Kunsthistoriker Andreas Beyer hat diesem ‚Leben im Furor‘ sein jüngstes Buch gewidmet. Rezension von Clemens Klünemann

Neben Leonardo da Vinci, Michelangelo und Raffael gehört er eher zu den weniger bekannten Renaissance-Künstlern. Zweifellos aber gehört Benvenuto Cellini nicht zu den weniger interessanten, wenngleich sein Werk neben den anderen eher überschaubar ist. Aber in seinen berühmten Skulpturen, aus denen der Perseus aus der Loggia dei Lanzi hervorragt, spiegelt sich ein Künstlerleben, das die Gründe und vor allem Abgründe eines genialischen und kreativen Menschen der Renaissance zeigt. Der Kunsthistoriker Andreas Beyer hat diesem ‚Leben im Furor‘ sein jüngstes Buch gewidmet. Rezension von Clemens Klünemann

 La vie trépidante du célèbre orfèvre Benvenuto Cellini le conduira Florence à Paris en passant par Rome. Elle avait tout pour séduire Hector Berlioz, lequel lui a d'ailleurs consacré son premier opéra dont la création s'est soldée par un échec retentissant.    Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Vita e curiosità su Galileo e Galilei - Spendieren Sie einen Cafè (1€)? Donate a coffee (1€)? https://ko-fi.com/italiano Livello B1Buongiorno cari amici e amanti dell'italiano e benvenuti all'episodio numero 161. Torniamo a parlare di personaggi famosi. Voi sapete che abbiamo parlato di artisti come Giuseppe Verdi, Caravaggio, Benvenuto Cellini e poi anche di donne come Artemisia Gentileschi e poi abbiamo parlato di persone che hanno fatto la storia nella politica, nella società, nella pedagogia italiana. Bene oggi voglio parlarvi di un personaggio storico, pioniere della fisica e dell'astronomia e cioè: signore e signori vi presento Galileo Galilei.Galilei nasce a Pisa, in Toscana, il 15 febbraio del 1564. Proviene da un'antica famiglia, famosa e importante ma ormai decaduta e che si trova in gravi difficoltà economiche. Il padre, musicista lo porta a studiare. Le sue passioni però sono considerate in famiglia troppo teoriche anche perché hanno bisogno di guadagnare soldi, ma, pur non rinunciando a studiare, si dedica ad inventare cose che gli portano successo. Inventa molti strumenti di misurazione scientifica, come per esempio il compasso geometrico per usi militari e un termoscopio, conosciuto anche come termometro galileiano, un termometro che misura la temperatura. Questo termometro e un cilindro di vetro, riempito di alcool. All'interno ci sono delle ampolle riempite a loro volta di un liquido colorato con delle targhette dove si legge la temperatura. Quando si raggiunge l'equilibrio termico è possibile leggere la temperatura atmosferica....The full transcript of this Episode is available via "Luisa's learn Italian Premium", Premium is no subscription and does not incur any recurring fees. You can just shop for the materials you need or want and shop per piece. Prices start at 0.20 Cent (i. e. Eurocent). - das komplette Transcript / die Show-Notes zu allen Episoden sind über Luisa's Podcast Premium verfügbar. Den Shop mit allen Materialien zum Podcast finden Sie unterhttps://premium.il-tedesco.itLuisa's Podcast Premium ist kein Abo - sie erhalten das jeweilige Transscript/die Shownotes sowie zu den Grammatik Episoden Übungen die Sie "pro Stück" bezahlen (ab 25ct). https://premium.il-tedesco.itMehr info unter www.il-tedesco.it bzw. https://www.il-tedesco.it/premiumMore information on www.il-tedesco.it or via my shop https://www.il-tedesco.it/premium

VIDEO: Il giuramento delle Guardie Svizzere ➜ https://www.youtube.com/watch?v=9_oxmm_y09Y&list=PLolpIV2TSebUYAolUy8XGKkkSVK1dUyXFTESTO DELL'ARTICOLO ➜ https://www.bastabugie.it/it/articoli.php?id=7957LE GUARDIE SVIZZERE AL SERVIZIO DEL SUCCESSORE DI PIETRO di Alberto CarosaIl 6 maggio 1527 è passato alla storia non solo come l'inizio dell'infame Sacco di Roma, ma anche come il giorno del primo autentico "battesimo di fuoco" per il corpo di guardie svizzere pontificie che aveva cominciato a servire il Papa e il Papato un paio di decenni prima.Ma perché reclutare soldati proprio dalla Svizzera? Perché storicamente gli svizzeri sono famosi per le loro capacità in due particolari mestieri: fare orologi e fare la guerra. I mercenari svizzeri si mettono in luce particolarmente nel XV secolo, dedicandosi per lungo tempo all'attività militare mercenaria quale sbocco alla loro povertà.La loro forza d'animo, nobili sentimenti e proverbiale spirito di fedeltà ne faceva dei combattenti ritenuti invincibili. Le loro formazioni semplici e primitive in quadrati massicci, che richiamavano la testuggine romana, armati di picche, si opponevano come istrici dai lunghi aculei agli attacchi della cavalleria, segnandone l'inizio del declino come arma decisiva.Tutte queste doti e in particolare lo spirito di fedeltà, rispetto alle altre truppe mercenarie del tempo, trovarono piena conferma, se pur ce ne fosse stato bisogno, quel giorno, che era cominciato con l'assalto mattutino alle mura vaticane di Borgo tra il Gianicolo e il Vaticano, da parte delle truppe imperiali di Carlo V al comando del duca Carlo di Borbone.ROMA ATTACCATAMa come si era giunti a questo assalto alla Città eterna? L'ordine era venuto dallo stesso Imperatore Carlo V, che in tal modo volle punire il Papa Clemente VII per il voltafaccia con cui aveva aderito alla Lega Santa di Cognac, alleandosi al Re di Francia, Francesco I di Valois (a sua volta alleato con i turchi), in funzione anti-imperiale. Papa Clemente temeva infatti, che le mire espansionistiche del sovrano asburgico mettessero a rischio la stessa esistenza dello Stato Pontificio come entità territoriale.Il Conestabile di Borbone e la sua orda selvaggia, in gran parte lanzichenecchi tedeschi protestanti già sotto il comando del generale Giorgio von Frundsberg (costretto ad abbandonare il campo anzitempo per motivi di salute), dovevano prendere la città in fretta, per evitare di essere intrappolati a loro volta dall'esercito della Lega, che avrebbe potuto tagliargli la via della ritirata.Poiché forse l'assalto non procedeva secondo i tempi previsti, il Borbone decise di andare a spronare personalmente i suoi soldati che si disponevano a scalare le mura alla Porta del Torrione. Ma mettere tanto zelo in un'impresa del genere non fu una buona idea: una palla d' archibugio (che poi Benvenuto Cellini si vantò d' aver tirato) lo colpì a morte.Dopo un attimo di sbandamento, gli assalti ripresero più furiosi di prima e i mercenari spagnoli (6000 effettivi, il reparto più consistente dopo i lanzichenecchi) sfondarono la Porta del Torrione, mentre i lanzichenecchi dilagavano per Borgo S. Spirito e S. Pietro. La Guardia Svizzera, compatta ai piedi dell'obelisco che allora si trovava vicino al Campo Santo Teutonico, e le poche truppe romane resistettero eroicamente.UN GLORIOSO MARTIRIODopo l'eccidio di tutti i soldati di guardia, mentre per il corridoio il Papa si metteva al sicuro, gli svizzeri ancora resistevano, difendendo S. Pietro. Alla loro testa era il comandante Kaspar Röist. Le orde non rispettarono il luogo santo e feroce si riaccese la mischia. Tutti caddero fino all'ultimo e con essi la consorte del comandante Röist, mutilata prima delle braccia, poi uccisa sul cadavere del marito. Dell'intero corpo, 189 svizzeri, se ne salvarono solo 42, quelli che erano di servizio quel giorno nel palazzo apostolico e quindi col compito di scortare il Papa al sicuro in Castel S. Angelo.Infatti il loro supremo sacrificio non fu vano, perché guadagnarono il tempo sufficiente al Papa per mettersi in salvo attraverso il "Passetto", un corridoio segreto costruito da Alessandro VI sul muro che collegava il Vaticano con Castel Sant'Angelo.A suggello del loro supremo sacrificio, equivalente a un vero e proprio martirio, i 147 svizzeri si coprirono di eterna gloria cadendo eroicamente proprio sui gradini dell'altare maggiore di S. Pietro, quasi a simboleggiare l'unione dell'offerta del loro sangue a quella che Nostro Signore rinnova in maniera incruenta in ogni celebrazione della Santa Messa.ROMA IN MANO AI BARBARI PROTESTANTIAttraverso Ponte Sisto, poi, i lanzichenecchi e gli altri mercenari al seguito si riversarono sulla città, e per otto giorni diedero libero sfogo a ogni sopruso e efferatezze possibili e immaginabili: omicidi, torture, stupri, rapine, sequestri di persona a scopo di estorsione, saccheggi, devastazioni, incendi, accanendosi particolarmente nello sfregio di luoghi e oggetti sacri e nelle offese a quanti vestissero un abito religioso.La violenza fu tale che appena qualche giorno dopo, il 10 maggio, l'estensore di una relazione alla Repubblica veneta scriveva: «L'inferno è nulla in confronto colla vista che Roma adesso presenta». I morti pare siano stati dodicimila nei primissimi tempi, cui vanno aggiunte le svariate centinaia, se non migliaia, di altre vittime della peste che scoppiò quasi contemporaneamente, vuoi a causa dei molti cadaveri insepolti e mangiati dai cani, vuoi per le condizioni e le abitudini promiscue della soldataglia (che ne fu a sua volta ampiamente decimata).Il valore complessivo del bottino si sarebbe poi aggirato - secondo le stime dello stesso Clemente VII - intorno alla cifra esorbitante di dieci milioni di ducati d'oro.Ma ingenti furono anche - sul piano più prettamente culturale - i danni subiti dagli archivi e dalle biblioteche, dai tesori delle chiese e dalle raccolte d'arte; furono profanate perfino le tombe dei Papi, compresa quella di Giulio II, per rubare il loro contenuto.Oltre al danno irreparabile della distruzione di reliquie, andò perduto anche un tesoro d'arte inestimabile, ossia la maggior parte dell'oreficeria artigiana di chiesa. Ad ulteriore sfregio, i lanzichenecchi adibirono san Pietro a stalla per i loro cavalli.Non c'è da meravigliarsi troppo di tutto questo perché l'esercito imperiale, e in particolare i lanzichenecchi, erano animati da uno spirito di crociata antipapista, anche se erano al soldo di un monarca cattolico; infatti il Frundsberg non aveva fatto mistero di voler prendere Roma per impiccare il Papa e i suoi cardinali."VIVAT LUTHERUS PONTIFEX"Non mancarono poi quanti interpretarono gli avvenimenti come un segno dell'ira di Dio per le divisioni dei cristiani a seguito della rivoluzione protestante. Davanti a Castel Sant'Angelo, sotto gli occhi del Papa, fu poi imbastita una parodia di processione religiosa, con la quale si chiedeva che Clemente cedesse a Lutero vele e remi della "Navicella" di Pietro.Allora la soldataglia gridò: "Vivat Lutherus pontifex". Per sfregio, il nome di Lutero fu inciso con la punta d'una spada sull' affresco La Disputa del Santissimo Sacramento nelle Stanze di Raffaello, mentre un altro graffito inneggiava a Carlo V Imperatore.Conciso e esatto il giudizio del priore dei canonici di S. Agostino emesso allora: «Mali fuere Germani, pejores Itali, Hispani vero pessimi»: i tedeschi furono cattivi, peggiori gli italiani, pessimi gli spagnoli.Ad accrescere la ferocia dei vincitori contribuì forse anche il mancato pagamento della "cinquina", ossia il soldo che a quei tempi veniva pagato ogni cinque giorni. Quando però il comandante delle truppe non disponeva di danaro sufficiente, autorizzava il cosiddetto "sacco" della città, che in genere non durava più di una giornata. Nel caso specifico, la soldataglia era rimasta senza paga, senza comandante e senza ordini, e poté quindi più facilmente abbandonarsi ad un saccheggio così sfrenato e prolungato.UN MERITO CHE NON SI DIMENTICALa notizia del Sacco di Roma commosse l'intera Europa ed ebbe grande impatto emotivo e vasta eco presso i contemporanei, tanto che ne rimane traccia in un'articolata pubblicistica. Lo stesso Carlo V ne rimase indignato e fece sospendere le feste indette in Spagna per la nascita del figlio Filippo, fece fare preghiere per la liberazione del Pontefice (come se non fosse suo prigioniero) e scrisse al Re d'Inghilterra e agli altri principi che le violenze erano state commesse contro la sua volontà.La soppressione della Guardia Svizzera, sostituita da una compagnia di 200 lanzichenecchi, fu tra le condizioni imposte a Clemente VII per la resa, ma egli ottenne che gli svizzeri sopravvissuti fossero inclusi nel nuovo corpo. Però solo dodici accettarono, mentre gli altri non vollero avere niente a che fare con gli odiati mercenari tedeschi.La Guardia Svizzera fu reintegrata nella pienezza dei suoi compiti da Paolo III il 3 febbraio 1548, quando un contingente di 225 confederati tornò a servire il Papa su base permanente.E se oggi la Guardia Svizzera è ancora al suo posto dopo le riforme seguite al Concilio Vaticano II, che hanno portato invece all'abolizione di altri corpi armati vaticani, lo si deve anche al ricordo indelebile dell'eroico sacrificio dei suoi 147 membri cinque secoli fa, luminoso esempio di spirito cavalleresco e fedeltà incrollabile al servizio del Papa e del Papato fino alle ultime conseguenze.Nota di BastaBugie: nell'articolo seguente dal titolo "A cosa servono le guardie svizzere" si spiega il ruolo che hanno ancora oggi

Nous sommes le 7 août 1845. Dans l'hebdomadaire « La Belgique musicale », fondé quelques années plus tôt par une association d'artistes, dans un article consacré à Félix Godefroid, harpiste, pianiste et compositeur, on peut lire : « Les compositions qu'il a exécutées dans tous ses concerts sont sérieuses, grandioses, abondantes en pensées ; on y devine toujours aisément la science modestement déguisée sous les formes faciles et gracieuses d'une mélodie élégante et inspirée » La même année, « La Gazette du Rhin et de la Moselle » vante ses qualités d'interprète : « Un accompagnement de zéphir l'entoure comme les chuchotements les plus mystérieux des elfes. L'artiste nous a transporté dans un autre monde ; – on écoute, on s'étonne ! tout à coup les cordes semblent en proie à un orage, l'instrument paraît se transformer en un être animé, poursuivi et secoué par des passions terribles ». « Le ménestrel », revue musicale de Paris, dans son numéro du 13 février 1859, salue « cet art et ce soin que ce Benvenuto Cellini de la musique met à tout ce qui sort de ses habiles mains » ajoutant que « le célèbre artiste n'a rien moins qu'accompli une complète transformation dans la manière d'écrire la musique moderne de salon ». Or Félix Godefroid, quelques années auparavant, a regretté une vilaine manie de vouloir assimiler la harpe au piano : « C'est le jour et la nuit, selon lui, ce n'est ni la même sonorité, ni les mêmes effets, ni les mêmes moyens. Ce qui se joue sur l'un ne peut s'exécuter sur l'autre qu'avec une peine infinie, à moins de tout déranger : le ton, le doigté, les traits. » Hector Berlioz, lui-même, le déplore aussi : « à la honte de notre état musical, l'étude de la harpe, ce poétique et ravissant instrument, est aujourd'hui si dédaignée, que le premier harpiste de l'époque, c'est-à-dire le premier peut-être qui ait jamais existé, Félix Godefroid, se voit obligé, pour que sa pensée puisse avoir cours, d'écrire de la musique de piano, comme tout le monde » déclare le maître français dans le « Journal des débats » du 7 janvier 1852. Félix Godefroid, interprète, compositeur reconnu est aussi un pédagogue, en cela, il s'inscrit dans une tradition bien familiale. En effet, les Godefroid incarne une véritable dynastie musicale du XIXe siècle, en Belgique, en France et dans toute l'Europe. Partons sur leurs traces … Avec nous : Manuel Couvreur, membre de l'Académie royale de Belgique, secrétaire de la commission de la Nouvelle biographie nationale. Sujets traités : Félix Godefroid, musicien, harpiste, pianiste, compositeur, Belgique, Dynastie Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

秘色玛瑙花瓶（honey-coloured agate，又翻译为“双耳搪瓷玛瑙瓶”），通高21.4厘米、宽11厘米、重596克，其材质包括有珐琅、玛瑙和金，以罗马时代造型双耳瓶为原型，仿制意大利文艺复兴时期金匠本维努托·切里尼（Benvenuto Cellini）风格于1811-1834年制作于意大利。现收藏于大英博物馆。

Friedrich, Uwe www.deutschlandfunk.de, Kultur heute

Friedrich, Uwe www.deutschlandfunkkultur.de, Fazit

 La vie trépidante du célèbre orfèvre Benvenuto Cellini le conduira Florence à Paris en passant par Rome. Elle avait tout pour séduire Hector Berlioz, lequel lui a d'ailleurs consacré son premier opéra dont la création s'est soldée par un échec retentissant.    Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Known for his masterful sculptures and fiery temper, Benvenuto Cellini's escapades ranged from dueling in the streets to making audacious escapes from papal prisons. Join Ben and Daniele as they unfurl Cellini's wild stories and scandalous life. See omnystudio.com/listener for privacy information.

I am joined by the Florence based artist and art historian Dr. Alan Pascuzzi for a thrilling interview about his career as an artist following the techniques of the Renaissance masters. We first discuss the process of becoming a sculptor and painter in the Renaissance techniques. He walks us through his technical process, looking closely at his recent allegorical bronze group for Florida State University in Florence. Our conversation drifts to the monumental Perseus by Benvenuto Cellini, where Alan talks us through the relationship between the casting process in the Renaissance and the modern age. We conclude our conversation around Alan's methodology in his book, "Becoming Michelangelo: Apprenticing to the Master and Discovering the Artist Through His Drawings," where he recounts the insight learned by copying 135 of Michelangelo's drawings from his early career, a unique blending of studio art and art historical scholarship. To purchase "Becoming Michelangelo:" https://www.simonandschuster.com/books/Becoming-Michelangelo/Alan-Pascuzzi/9781950994373Follow us on Instagram for images: @italian_renaissance_podcastGet additional content by becoming a Patron: patreon.com/TheItalianRenaissancePodcast Support the show

Melvyn Bragg and guests discuss the infamous assault of an army of the Holy Roman Emperor on the city of Rome in 1527. The troops soon broke through the walls of this holy city and, with their leader shot dead early on, they brought death and destruction to the city on an epic scale. Later writers compared it to the fall of Carthage or Jerusalem and soon the mass murder, torture, rape and looting were followed by disease which was worsened by starvation and opened graves. It has been called the end of the High Renaissance, a conflict between north and south, between Lutherans and Catholics, and a fulfilment of prophecy of divine vengeance and, perhaps more persuasively, a consequence of military leaders not feeding or paying their soldiers other than by looting. WithStephen Bowd Professor of Early Modern History at the University of EdinburghJessica Goethals Associate Professor of Italian at the University of AlabamaAnd Catherine Fletcher Professor of History at Manchester Metropolitan UniversityProducer: Simon TillotsonReading list:Stephen Bowd, Renaissance Mass Murder: Civilians and Soldiers during the Italian Wars (Oxford University Press, 2018)Benvenuto Cellini, Autobiography (Penguin Classics, 1999)Benvenuto Cellini (trans. Julia Conaway Bondanella and Peter Bondanella), My Life (Oxford University Press, 2009)André Chastel (trans. Beth Archer), The Sack of Rome 1527 (Princeton University Press, 1983Catherine Fletcher, The Beauty and the Terror: An Alternative History of the Italian Renaissance (Bodley Head, 2020)Kenneth Gouwens and Sheryl E. Reiss (eds), The Pontificate of Clement VII: History, Politics, Culture (Routledge, 2005)Francesco Guicciardini (trans. Sidney Alexander), The History of Italy (first published 1561; Princeton University Press, 2020)Luigi Guicciardini (trans. James H. McGregor), The Sack of Rome (first published 1537; Italica Press, 2008)Judith Hook, The Sack of Rome (2nd edition, Palgrave Macmillan, 2004)Geoffrey Parker, Emperor: A New Life of Charles V (Yale University Press, 2019)

Melvyn Bragg and guests discuss the infamous assault of an army of the Holy Roman Emperor on the city of Rome in 1527. The troops soon broke through the walls of this holy city and, with their leader shot dead early on, they brought death and destruction to the city on an epic scale. Later writers compared it to the fall of Carthage or Jerusalem and soon the mass murder, torture, rape and looting were followed by disease which was worsened by starvation and opened graves. It has been called the end of the High Renaissance, a conflict between north and south, between Lutherans and Catholics, and a fulfilment of prophecy of divine vengeance and, perhaps more persuasively, a consequence of military leaders not feeding or paying their soldiers other than by looting. WithStephen Bowd Professor of Early Modern History at the University of EdinburghJessica Goethals Associate Professor of Italian at the University of AlabamaAnd Catherine Fletcher Professor of History at Manchester Metropolitan UniversityProducer: Simon TillotsonReading list:Stephen Bowd, Renaissance Mass Murder: Civilians and Soldiers during the Italian Wars (Oxford University Press, 2018)Benvenuto Cellini, Autobiography (Penguin Classics, 1999)Benvenuto Cellini (trans. Julia Conaway Bondanella and Peter Bondanella), My Life (Oxford University Press, 2009)André Chastel (trans. Beth Archer), The Sack of Rome 1527 (Princeton University Press, 1983Catherine Fletcher, The Beauty and the Terror: An Alternative History of the Italian Renaissance (Bodley Head, 2020)Kenneth Gouwens and Sheryl E. Reiss (eds), The Pontificate of Clement VII: History, Politics, Culture (Routledge, 2005)Francesco Guicciardini (trans. Sidney Alexander), The History of Italy (first published 1561; Princeton University Press, 2020)Luigi Guicciardini (trans. James H. McGregor), The Sack of Rome (first published 1537; Italica Press, 2008)Judith Hook, The Sack of Rome (2nd edition, Palgrave Macmillan, 2004)Geoffrey Parker, Emperor: A New Life of Charles V (Yale University Press, 2019)

In der Nacht vom 10. auf den 11. Mai 2003 kommt es im Kunsthistorischen Museum in Wien zu einem spektakulären Kunstdiebstahl. Ein Einbrecher dringt über ein Baugerüst in das Gebäude ein, zerschlägt eine Vitrine und flieht mit einem goldenen Salzfass, der Saliera, als Beute. Die Saliera ist aber nicht irgendein Salzfass, es ist die einzig erhaltene Goldschmiedearbeit des Renaissancekünstlers Benvenuto Cellini, mit einem Wert von über 50 Millionen Euro. Wir sprechen in der Folge über die Saliera, was sie so besonders macht und über das Leben von Cellini, der nicht nur Goldschmied und Bildhauer war, sondern auch dreifacher Mörder und der als gewalttätiger Unruhestifter mehrfach vor Gericht stand. //Literatur Uwe Neumahr: Die exzentrische Lebensgeschichte des Künstlers und Verbrechers Benvenuto Cellini, 2021 Rainer Paulus, Sabine Haag: Cellinis Saliera. Die Biographie eines Kunstwerkes. Schriften des Kunsthistorischen Museums, Band 19, 2018 //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte NEU: Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt!

The Perseus of Benvenuto Cellini is justly considered a masterpiece of Renaissance sculpture. Believe it or not, this statue almost never existed. From start to finish, sculpting the Perseus proved a Herculean labor, as dogged oppostion from Cellini's own patron, life-threatening illness, and the sheer enormity of the artist's ambitions conspired against him. Show notes and full transcripts available at www.artofcrimepodcast.com.   If you'd like to support the show, please consider becoming a patron at www.patreon.com/artofcrimepodcast.   The Art of Crime is part of the Airwave Media network. To learn more about Airwave, visit www.airwavemedia.com. If you'd like to advertise on The Art of Crime, please email advertising@airwavemedia.com.

fWotD Episode 2411: Hector Berlioz Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Monday, 11 December 2023 is Hector Berlioz.Louis-Hector Berlioz (11 December 1803 – 8 March 1869) was a French Romantic composer and conductor. His output includes orchestral works such as the Symphonie fantastique and Harold in Italy, choral pieces including the Requiem and L'Enfance du Christ, his three operas Benvenuto Cellini, Les Troyens and Béatrice et Bénédict, and works of hybrid genres such as the "dramatic symphony" Roméo et Juliette and the "dramatic legend" La Damnation de Faust.The elder son of a provincial doctor, Berlioz was expected to follow his father into medicine, and he attended a Parisian medical college before defying his family by taking up music as a profession. His independence of mind and refusal to follow traditional rules and formulas put him at odds with the conservative musical establishment of Paris. He briefly moderated his style sufficiently to win France's premier music prize – the Prix de Rome – in 1830, but he learned little from the academics of the Paris Conservatoire. Opinion was divided for many years between those who thought him an original genius and those who viewed his music as lacking in form and coherence.At the age of twenty-four Berlioz fell in love with the Irish Shakespearean actress Harriet Smithson, and he pursued her obsessively until she finally accepted him seven years later. Their marriage was happy at first but eventually foundered. Harriet inspired his first major success, the Symphonie fantastique, in which an idealised depiction of her occurs throughout.Berlioz completed three operas, the first of which, Benvenuto Cellini, was an outright failure. The second, the huge epic Les Troyens (The Trojans), was so large in scale that it was never staged in its entirety during his lifetime. His last opera, Béatrice et Bénédict – based on Shakespeare's comedy Much Ado About Nothing – was a success at its premiere but did not enter the regular operatic repertoire. Meeting only occasional success in France as a composer, Berlioz increasingly turned to conducting, in which he gained an international reputation. He was highly regarded in Germany, Britain and Russia both as a composer and as a conductor. To supplement his earnings he wrote musical journalism throughout much of his career; some of it has been preserved in book form, including his Treatise on Instrumentation (1844), which was influential in the 19th and 20th centuries. Berlioz died in Paris at the age of 65.This recording reflects the Wikipedia text as of 00:25 UTC on Monday, 11 December 2023.For the full current version of the article, see Hector Berlioz on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Matthew Neural.

durée : 00:25:15 - Berlioz, Benvenuto Cellini - par : Anne-Charlotte Rémond - "On fit à l'ouverture un succès exagéré, et l'on siffla tout le reste avec un ensemble et une énergie admirables." C'est ce que Berlioz nous confie dans ses Mémoires à propos de son opéra Benvenuto Cellini. Anne-Charlotte Rémond revient sur toute l'histoire de cette œuvre, dans Musicopolis ! - réalisé par : Philippe Petit

W 1543 r. złotnik Benvenuto Cellini – znany awanturnik o wielkim talencie artystycznym – wykonał dla króla Francji Franciszka I absolutnie unikatową solniczkę. Jest to grupa rzeźb ze złota, zdobiona emalią i kością słoniową, zawierająca nie tylko pojemnik na sól, ale także na pieprz. Wśród licznych personifikacji, razem tworzących obraz harmonii świata, dwie główne postacie to nadzy mężczyzna i kobieta: uosobienia bóstw morza, z którego pozyskiwano sól, oraz ziemi, z której pochodzi pieprz. Jakie treści artysta zawarł w tym przedstawieniu? Jakie były losy solniczki po śmierci Franciszka I? Jak to się stało, że już w XXI wieku to arcydzieło zostało skradzione z jednego z najsłynniejszych muzeów europejskich?

Apart from creating exquisite music, goldwork, and statuary under the patronage of Pope Clement VII, among other notables, sixteenth-century Renaissance man Benvenuto Cellini had a special talent for making enemies. One professional rivalry even ended in murder, in the middle of a busy street. After getting imprisoned for a crime he never committed, Cellini found himself the target of a brazen assassination attempt. Show notes and full transcripts available at www.artofcrimepodcast.com.   If you'd like to support the show, please consider becoming a patron at www.patreon.com/artofcrimepodcast.   The Art of Crime is part of the Airwave Media network. To learn more about Airwave, visit www.airwavemedia.com. If you'd like to advertise on The Art of Crime, please email advertising@airwavemedia.com.

“Brother, this is the greatest sorrow and the greatest trial that could happen to me in the whole course of my life. But don't despair; before you lose sight of him who did the mischief, you shall see yourself revenged by my hand.” — Benvenuto Cellini “Folk too gathered round us, for it had become clear that our words meant swords and daggers.” — Benvenuto CelliniItalian artists from the Renaissance often lived lives that would make artists-gangsters a la Biggie or Tupac blush. Born at a time and place when colorful individuals abounded, Benvenuto Cellini was the wildest of them all. He is remembered as one of the greatest artists of the era, and at the same time as a man of explosive passions, equally inclined to murder and disturbing sexual escapades. In this second episode: Cellini and his path to vengeance, summoning demons inside the Colosseum, the 48 Laws of Power at the court of the French King, escaping from prison, surviving poisonings, Perseus and Medusa, and much, much more. If you are looking for entertainment set in the Renaissance, you really can't ask for anything better. If you feel generous and enjoy History on Fire, please consider joining my Patreon at https://www.patreon.com/historyonfire to access plenty of bonus content. Bison is some of the healthiest meat you could possibly eat. Get yours at https://dakotapurebison.com/ History on Fire listeners get a discount by using the code HOF10 at checkout. Big thank you to Babbel for sponsoring this episode. Right now, get up to 55% off your subscription when you go to https://babbel.com/HOFAlso, thank you to Hillsdale College for sponsoring this episode. Checkout Hillsdale.edu/historyonfire to have access to free online courses. Foto di Copertina: Paolo Villa

“If one of you comes out of the shop, let the other run for a priest, because there'll be no need for a doctor.” — Benvenuto Cellini “The whole world was now in warfare.” — Benvenuto Cellini“And then falling on my knees, I begged him to absolve me of that homicide, and of the others I had committed while serving the Church in the castle. At this the Pope raised his hand, carefully made a great sign of the cross above my head, and said that he gave me his blessing and that he forgave me all the murders I had ever committed and all the murders I ever would commit in the service of the Apostolic Church.” — Benvenuto CelliniItalian artists from the Renaissance often lived lives that would make artists-gangsters a la Biggie or Tupac blush. Born at a time and place when colorful individuals abounded, Benvenuto Cellini was the wildest of them all. He is remembered as one of the greatest artists of the era, and at the same time as a man of explosive passions, equally inclined to murder and disturbing sexual escapades. In this first episode, we'll witness Cellini surviving the plague and pirates, multiple street fights with blades drawn and the 1527 Sack of Rome. Along the way, we'll see how Italian honor culture may help explain the Will Smith-Chris Rock clash at the Oscars. The characters that show up in our tale from kings and prostitutes, mercenaries and artists, necromancers and cardinals, servants and guards. If you are looking for entertainment set in the Renaissance, you really can't ask for anything better. If you feel generous and enjoy History on Fire, please consider joining my Patreon at https://www.patreon.com/historyonfire to access plenty of bonus content. Bison is some of the healthiest meat you could possibly eat. Get yours at https://dakotapurebison.com/ History on Fire listeners get a discount by using the code HOF10 at checkout. This episode is sponsored by HelloFresh, America's # 1 meal kit. Go to https://www.hellofresh.com/hof16 and get 16 free meals plus free shipping!

Benvenuto Cellini es otro florentino homosexual renacentista de la misma gloriosa generación que los demás florentinos homosexuales renacentistas que han pasado por este podcast. A él le debemos la espectacular estatua de Perseo con la cabeza de Medusa, que se puede ver en la Loggia della Signoria en Florencia. La escultura es una imagen perfecta que refleja cómo era nuestro protagonista de hoy: excelso como artista y violento como persona, y bueno, uno de los nuestros, bisexual, eso sí. Una fantasía, porque él mismo se escribió una autobiografía que no puede ser más jugosa. Y para las músicas, aquí: https://open.spotify.com/playlist/2xqEdxJ7Y71hmn5LKeLZug?si=340bbbeb0a384c4c

Kronkelende zeegoden, monsterlijke vissenkoppen en zilte zeemeerminnen op een vaas van de Franse zilversmid Antoine Vechte. Of is het dan: Véchtè? Wat doet een vaas van een Franse maker in hét museum van Nederlandse kunst en geschiedenis. Janine Abbring spreekt erover met conservator edele en onedele metalen Dirk Jan Biemond. Wil je weten hoe deze zilveren 'vaas' eruitziet? Kijk dan op: https://www.rijksmuseum.nl/nl/collectie/BK-2013-3 In het Rijksmuseum is powered by ING. 

 La vie trépidante du célèbre orfèvre Benvenuto Cellini le conduira Florence à Paris en passant par Rome. Elle avait tout pour séduire Hector Berlioz, lequel lui a d'ailleurs consacré son premier opéra dont la création s'est soldée par un échec retentissant.    Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

In 1545, the goldsmith Benvenuto Cellini was commissioned by Duke Cosimo I de' Medici to create a large bronze statue of the Greek hero Perseus and Medusa. The resulting work was one of the most beautiful and famous of the Renaissance. This episode examines the history, style, and importance of Cellini's bronze masterpiece.

Dangerously Yours - Firebrand From-1944 Stars-Victor Jory, Kermit Murdock & Joan Tetzel A tale of sixteenth century Italy and the loves of Benvenuto Cellini...a superb silversmith and lover! + “I am adventure. In my name men have traversed the highways, the byways, the skyways of the world. I am the fire that burns in the heart of youth that makes men dream and dare and conquer. I am Dangerously Yours…” Today follow me to the Italy of the 16th century, a day when the smile or the frown of a duke would mean life or death, when ladies were the fragile lovely prizes of the brave and daring and when the bravest and most daring man in Florence was Benvenuto Cellini The Firebrand…

This week's episode is a roundtable discussion about our evolving relationships with art. Maggie kicks us off with Picasso's 1907 painting Les Demoiselles d'Avignon. Tristan leads a discussion about his complicated relationship with Benvenuto Cellini's 16th-century sculpture, Perseus with the Head of Medusa. Cam rounds things out with his journey of finding, outgrowing, and rediscovering Shakespeare's Hamlet. Subscribe to our Substack here: https://substack.com/secondbreakfastpod Feedback & Theories: secondbreakfastpod@gmail.com Instagram / TikTok / YouTube: @secondbreakfastpod Cam's Work: https://www.cameronfucile.com/

La cultura ha generado refranes y dichos para de modo efectivo, breve y memorable preservar experiencias transmisibles de generación en generación. Porque más vale refrán en mano que enciclopedia volando. ECDQEMSD podcast episodio 5384 Sabiduría Ancestral Conducen: El Pirata y El Sr. Lagartija https://canaltrans.com Noticias Del Mundo:  Las botellas de vino robadas - Rusia y las armas nucleares - Los misiles coreanos - Confinados y haciendo teléfonos - El huracán Lisa - Relojeros del mundo sincronizados - Canciones y tiempos - Benvenuto Cellini y sus joyas - Por la Universidad de Guadalajara Historias Desintegradas:  Los mal entendidos - La zanahoria - Un re flan - Muchos huevo - El burro y los pellizcos - Mis propios refranes - Mix de sabiduría - El pájaro vengador - No discutir - El gato y el garabato - Como el elefante - Frases educativas - La crítica - Refranes colombianos - Panamá se va de Colombia y más... https://www.canaltrans.com/ecdqemsd_podcast_2022/5384_sabiduria_ancestral.html En Caso De Que El Mundo Se Desintegre Podcast no tiene publicidad, sponsors ni organizaciones que aporten para mantenerlo al aire. Solo el sistema cooperativo de los que aportan a través de las suscripciones hacen posible que todo esto siga siendo una realidad. Gracias Dragones Dorados: https://www.canaltrans.com/radio/suscripciones.html

Synopsis We tend to think of Paris as the most sophisticated and worldly of European capitals – a city whose residents are unlikely to be shocked by anything they see or hear. Ah, but that's not always the case, as poor Hector Berlioz discovered on today's date in 1838, when his new opera “Benvenuto Cellini” premiered at the Paris Opéra. One line in the libretto about the cocks crowing at dawn was considered, as Berlioz put it, “belonging to a vocabulary inconsistent with our present prudishness” and provoked shocked disapproval. And that was just the start of a controversy that raged over both the morality and the music of this new opera. Following the dismal opening night, Berlioz wrote to his father: “It's impossible to describe all the underhanded maneuvers, intrigues, conspiracies, disputes, battles, and insults my work has given rise to… The French have a positive mania for arguing about music without having the first idea – or even any feeling – about it!” From the fiasco of the opera's premiere, however, Berlioz did retrieve some measure of success. His famous contemporaries Paganini and Liszt both admired the work – and said so – and one flashy orchestral interlude from “Benvenuto Cellini” did prove a lasting success when Berlioz recast it as a concert work: his “Roman Carnival Overture.” Music Played in Today's Program Hector Berlioz (1803-1869) –Benvenuto Cellini and Roman Carnival Overtures (Staatskapelle Dresden; Sir Colin Davis, cond.) BMG/RCA 68790

HSF sits down to discuss the last three episodes, but also to talk about what makes a good human being , not specifically a good man.......  

Sprachenverwirrung? Gibt es jetzt im kleinen Gröbminger Museum mit Ansage. Wilfried Seipel, der ehemalige Generaldirektor des Kunsthistorischen Museums hat in Gröbming die Ausstellung "Das Geheimnis der Hieroglyphen" kuratiert. Aber was genau hat diese alte Schrift aus Ägypten mit der Region zu tun? Das verrät der "Zuagroaste" im Podcast. Was die ägyptischen Hieroglyphen mit regionalen Felsritzzeichnungen der Notgasse und sogar mit unseren lustigen Emojis zu tun haben, ist im Gespräch ebenso Thema, wie später auch noch die sehr persönliche Versöhnung mit einem Objekt, das Seipel jahrelang Magenschmerzen bereitete: die Saliera. Jenes aus purem Gold gefertigte Meisterwerk von Benvenuto Cellini. Das 50 Millionen Euro-Salzfass wurde 2003 aus dem Kunsthistorischen Museum bei einem spektakulären Einbruch gestohlen und war erst drei Jahre später in einer Kiste im Waldviertel wieder aufgetaucht. Der Täter wollte damals Lösegeld erspressen, Seipel kam extrem unter Druck, auch politisch. Im Podcast erinnert er sich an die vielleicht herausfordernste Zeit seiner Karriere und räumt mit einigen, aus seiner Sicht unrichtigen, Behauptungen zum Saliera-Raub auf. Am 17. September 2020 erscheint übrigens ein Saliera-Buch. Der damalige Chefermittler Hofrat Ernst Geiger wird in "Goldraub" (Verlag edition a) die Geschichte und auch neue Hintergründe zu diesem Kunstraub erzählen. Ebenfalls in Planung ist eine Dokumentation von Puls4, in der auch Wilfried Seipel zu Wort kommen wird. Die Ausstrahlung ist für Anfang Oktober geplant.  

Joy Wiltenburg's book Laughing Histories: From the Renaissance Man to the Woman of Wit (Routledge, 2022) breaks new ground by exploring moments of laughter in early modern Europe, showing how laughter was inflected by gender and social power. "I dearly love a laugh," declared Jane Austen's heroine Elizabeth Bennet, and her wit won the heart of the aristocratic Mr. Darcy. Yet the widely read Earl of Chesterfield asserted that only "the mob" would laugh out loud; the gentleman should merely smile. This literary contrast raises important historical questions: how did social rules constrain laughter? Did the highest elites really laugh less than others? How did laughter play out in relations between the sexes? Through fascinating case studies of individuals such as the Renaissance artist Benvenuto Cellini, the French aristocrat Madame de Sévigné, and the rising civil servant and diarist Samuel Pepys, Laughing Histories reveals the multiple meanings of laughter, from the court to the tavern and street, in a complex history that paved the way for modern laughter. ​ With its study of laughter in relation to power, aggression, gender, sex, class, and social bonding, Laughing Histories is perfect for readers interested in the history of emotions, cultural history, gender history, and literature. Elspeth Currie is a PhD student in the Department of History at Boston College where she studies women's intellectual history in early modern Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Joy Wiltenburg's book Laughing Histories: From the Renaissance Man to the Woman of Wit (Routledge, 2022) breaks new ground by exploring moments of laughter in early modern Europe, showing how laughter was inflected by gender and social power. "I dearly love a laugh," declared Jane Austen's heroine Elizabeth Bennet, and her wit won the heart of the aristocratic Mr. Darcy. Yet the widely read Earl of Chesterfield asserted that only "the mob" would laugh out loud; the gentleman should merely smile. This literary contrast raises important historical questions: how did social rules constrain laughter? Did the highest elites really laugh less than others? How did laughter play out in relations between the sexes? Through fascinating case studies of individuals such as the Renaissance artist Benvenuto Cellini, the French aristocrat Madame de Sévigné, and the rising civil servant and diarist Samuel Pepys, Laughing Histories reveals the multiple meanings of laughter, from the court to the tavern and street, in a complex history that paved the way for modern laughter. ​ With its study of laughter in relation to power, aggression, gender, sex, class, and social bonding, Laughing Histories is perfect for readers interested in the history of emotions, cultural history, gender history, and literature. Elspeth Currie is a PhD student in the Department of History at Boston College where she studies women's intellectual history in early modern Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Joy Wiltenburg's book Laughing Histories: From the Renaissance Man to the Woman of Wit (Routledge, 2022) breaks new ground by exploring moments of laughter in early modern Europe, showing how laughter was inflected by gender and social power. "I dearly love a laugh," declared Jane Austen's heroine Elizabeth Bennet, and her wit won the heart of the aristocratic Mr. Darcy. Yet the widely read Earl of Chesterfield asserted that only "the mob" would laugh out loud; the gentleman should merely smile. This literary contrast raises important historical questions: how did social rules constrain laughter? Did the highest elites really laugh less than others? How did laughter play out in relations between the sexes? Through fascinating case studies of individuals such as the Renaissance artist Benvenuto Cellini, the French aristocrat Madame de Sévigné, and the rising civil servant and diarist Samuel Pepys, Laughing Histories reveals the multiple meanings of laughter, from the court to the tavern and street, in a complex history that paved the way for modern laughter. ​ With its study of laughter in relation to power, aggression, gender, sex, class, and social bonding, Laughing Histories is perfect for readers interested in the history of emotions, cultural history, gender history, and literature. Elspeth Currie is a PhD student in the Department of History at Boston College where she studies women's intellectual history in early modern Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Joy Wiltenburg's book Laughing Histories: From the Renaissance Man to the Woman of Wit (Routledge, 2022) breaks new ground by exploring moments of laughter in early modern Europe, showing how laughter was inflected by gender and social power. "I dearly love a laugh," declared Jane Austen's heroine Elizabeth Bennet, and her wit won the heart of the aristocratic Mr. Darcy. Yet the widely read Earl of Chesterfield asserted that only "the mob" would laugh out loud; the gentleman should merely smile. This literary contrast raises important historical questions: how did social rules constrain laughter? Did the highest elites really laugh less than others? How did laughter play out in relations between the sexes? Through fascinating case studies of individuals such as the Renaissance artist Benvenuto Cellini, the French aristocrat Madame de Sévigné, and the rising civil servant and diarist Samuel Pepys, Laughing Histories reveals the multiple meanings of laughter, from the court to the tavern and street, in a complex history that paved the way for modern laughter. ​ With its study of laughter in relation to power, aggression, gender, sex, class, and social bonding, Laughing Histories is perfect for readers interested in the history of emotions, cultural history, gender history, and literature. Elspeth Currie is a PhD student in the Department of History at Boston College where she studies women's intellectual history in early modern Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Joy Wiltenburg's book Laughing Histories: From the Renaissance Man to the Woman of Wit (Routledge, 2022) breaks new ground by exploring moments of laughter in early modern Europe, showing how laughter was inflected by gender and social power. "I dearly love a laugh," declared Jane Austen's heroine Elizabeth Bennet, and her wit won the heart of the aristocratic Mr. Darcy. Yet the widely read Earl of Chesterfield asserted that only "the mob" would laugh out loud; the gentleman should merely smile. This literary contrast raises important historical questions: how did social rules constrain laughter? Did the highest elites really laugh less than others? How did laughter play out in relations between the sexes? Through fascinating case studies of individuals such as the Renaissance artist Benvenuto Cellini, the French aristocrat Madame de Sévigné, and the rising civil servant and diarist Samuel Pepys, Laughing Histories reveals the multiple meanings of laughter, from the court to the tavern and street, in a complex history that paved the way for modern laughter. ​ With its study of laughter in relation to power, aggression, gender, sex, class, and social bonding, Laughing Histories is perfect for readers interested in the history of emotions, cultural history, gender history, and literature. Elspeth Currie is a PhD student in the Department of History at Boston College where she studies women's intellectual history in early modern Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Joy Wiltenburg's book Laughing Histories: From the Renaissance Man to the Woman of Wit (Routledge, 2022) breaks new ground by exploring moments of laughter in early modern Europe, showing how laughter was inflected by gender and social power. "I dearly love a laugh," declared Jane Austen's heroine Elizabeth Bennet, and her wit won the heart of the aristocratic Mr. Darcy. Yet the widely read Earl of Chesterfield asserted that only "the mob" would laugh out loud; the gentleman should merely smile. This literary contrast raises important historical questions: how did social rules constrain laughter? Did the highest elites really laugh less than others? How did laughter play out in relations between the sexes? Through fascinating case studies of individuals such as the Renaissance artist Benvenuto Cellini, the French aristocrat Madame de Sévigné, and the rising civil servant and diarist Samuel Pepys, Laughing Histories reveals the multiple meanings of laughter, from the court to the tavern and street, in a complex history that paved the way for modern laughter. ​ With its study of laughter in relation to power, aggression, gender, sex, class, and social bonding, Laughing Histories is perfect for readers interested in the history of emotions, cultural history, gender history, and literature. Elspeth Currie is a PhD student in the Department of History at Boston College where she studies women's intellectual history in early modern Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Joy Wiltenburg's book Laughing Histories: From the Renaissance Man to the Woman of Wit (Routledge, 2022) breaks new ground by exploring moments of laughter in early modern Europe, showing how laughter was inflected by gender and social power. "I dearly love a laugh," declared Jane Austen's heroine Elizabeth Bennet, and her wit won the heart of the aristocratic Mr. Darcy. Yet the widely read Earl of Chesterfield asserted that only "the mob" would laugh out loud; the gentleman should merely smile. This literary contrast raises important historical questions: how did social rules constrain laughter? Did the highest elites really laugh less than others? How did laughter play out in relations between the sexes? Through fascinating case studies of individuals such as the Renaissance artist Benvenuto Cellini, the French aristocrat Madame de Sévigné, and the rising civil servant and diarist Samuel Pepys, Laughing Histories reveals the multiple meanings of laughter, from the court to the tavern and street, in a complex history that paved the way for modern laughter. ​ With its study of laughter in relation to power, aggression, gender, sex, class, and social bonding, Laughing Histories is perfect for readers interested in the history of emotions, cultural history, gender history, and literature. Elspeth Currie is a PhD student in the Department of History at Boston College where she studies women's intellectual history in early modern Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Joy Wiltenburg's book Laughing Histories: From the Renaissance Man to the Woman of Wit (Routledge, 2022) breaks new ground by exploring moments of laughter in early modern Europe, showing how laughter was inflected by gender and social power. "I dearly love a laugh," declared Jane Austen's heroine Elizabeth Bennet, and her wit won the heart of the aristocratic Mr. Darcy. Yet the widely read Earl of Chesterfield asserted that only "the mob" would laugh out loud; the gentleman should merely smile. This literary contrast raises important historical questions: how did social rules constrain laughter? Did the highest elites really laugh less than others? How did laughter play out in relations between the sexes? Through fascinating case studies of individuals such as the Renaissance artist Benvenuto Cellini, the French aristocrat Madame de Sévigné, and the rising civil servant and diarist Samuel Pepys, Laughing Histories reveals the multiple meanings of laughter, from the court to the tavern and street, in a complex history that paved the way for modern laughter. ​ With its study of laughter in relation to power, aggression, gender, sex, class, and social bonding, Laughing Histories is perfect for readers interested in the history of emotions, cultural history, gender history, and literature. Elspeth Currie is a PhD student in the Department of History at Boston College where she studies women's intellectual history in early modern Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Vita e opere di Benvenuto Cellini. - Spendieren Sie einen Cafè (1€)? Donate a coffee (1€)? https://ko-fi.com/italiano Livello B1Buongiorno cari amici e amanti dell'italiano e benvenuti al nostro consueto appuntamento settimanale con i podcasti di Luisa.Oggi vi parlo di arte.Sicuramente molti di voi sono già stati a Firenze. Vi ricordate la piazza principale nel centro storico della città, Piazza della Signoria? Ecco pensate adesso di essere lì e di trovarvi davanti alla Loggia dei Lanzi, a destra del Palazzo Vecchio e accanto agli Uffizi. L'edificio che è servito come modello per la Feldhernhalle nel centro di Monaco.Ecco sotto la Loggia dei Lanzi ci sono diverse sculture. Una di queste è in bronzo e rappresenta Perseo, secondo la mitologia greca figlio di Zeus che uccide Medusa, una delle tre Gorgoni che avevano il potete di pietrificare ......The full transcript of this Episode is available via "Luisa's learn Italian Premium" - das komplette Transcript / die Show-Notes sind über Luisa's Podcast Premium verfügbar. Den Shop mit allen Materialien zum Podcast finden Sie unter https://premium.il-tedesco.itLuisa's Podcast Premium ist kein Abo - sie erhalten das jeweilige Transscript/die Shownotes sowie zu den Grammatik Episoden Übungen die Sie "pro Stück" bezahlen (ab 25ct). https://premium.il-tedesco.itMehr info unter www.il-tedesco.it bzw. https://www.il-tedesco.it/premiumInitial Ukulele Musik: Ukulele Bailey - Ukulele Baby,Song released in the 1920's by Cameo Disc.Episode Picture by Jebulon - Own work, CC0, https://commons.wikimedia.org/w/index.php?curid=15683145Music from the Overture for Hector Berlioz, Opera "Benvenuto Cellini", performed by the Orchestre de Paris, conductor David Zinman

"Benvenuto, the figure cannot succeed in bronze," so spoke the patron Duke. Cellini, stung to fury, passionately burst out: "You do not understand art." Feverishly he began the casting of the statue --- but read his own account of the tilt with the Duke. (Volume 31, Harvard Classics)  

Introductory note on Benvenuto Cellini (Volume 31, Harvard Classics)  

Kings, emperors, the greatest artists and sculptors of the Renaissance at its most magnificent period, walk through the pages of his autobiography --- not as cold, austere, historical characters but as the intimate friends of Cellini. (Volume 31, Harvard Classics)  

Co-host James returns to the Podcast to talk the life and times of the Renaissance's most infamous scoundrel: Benvenuto Cellini. This week we've got murder, sex, war, poetry, goldsmithing... with a touch of necromancy and some favours done for the Pope. It's the history of the life of Florence's most famous goldsmith Benvenuto Cellini. What better man or place to cover than that which inspires so many of our collections and where our first bespoke solid gold pieces were made? Plus: Listener questions!

Benvenuto Cellini is an opera semiseria in two acts with music by Hector Berlioz and libretto by Léon de Wailly and Henri Auguste Barbier. It was the first of Berlioz's operas, premiered at the Académie Royale de Musique (Salle Le Peletier) on 10 September 1838. The story is inspired by the memoirs of the Florentine sculptor Benvenuto Cellini, although the elements of the plot are largely fictional. The opera is technically very challenging and rarely performed. However, the overture to the opera sometimes features in symphony orchestra programs, as does the concert overture Le carnaval romain which Berlioz composed from material in the opera.Purchase the music (without talk) at:Berlioz: Benvenuto Cellini (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

EPISODE 27 of ‘All About Art': Interview with MUSEUM DIRECTOR DR. SABINE HAAG For the All About Art Anniversary episode (!!! A year strong !!!), I sat down with the phenomenal Dr. Sabine Haag, director of the KHM-Museumsverband. Sabine is an Austrian art historian and is the director of not only one of the most renowned museums worldwide, the Kunsthistorisches Museum, but also the associated institutions, as well, including the Vienna Museum of Ethnology and the Austrian Theater Museum. A woman who has set an example in the arts, Sabine has been leading the Museumsverband since 2009, so over a decade. In this episode, I ask her all about her career path, starting from her education as an art historian and spanning to present day. I ask her about her role as director, and what that really entails. She gives advice to those seeking to follow in her footsteps, tells us what qualities she looks for in employees, and opens up about what it has been like leading a museum in a pandemic. Thank you Sabine for taking the time to sit down and chat with me, as well as Natacha Graf and the rest of the team at the Generaldirektion at the Kunsthistorisches Museum for assisting in the facilitation of this marvelous episode, which was not only an absolute joy for me to record but will hopefully be enjoyable and educational to listen to. If you want to support All About Art, please consider signing up to my Patreon here: https://www.patreon.com/allaboutart Mentioned in the episode: Further information on Dr. Sabine Haag: https://www.khm.at/en/explore/organisation/management/ Here you can find the book on Sabine's current reading list: https://www.transcript-verlag.de/978-3-8376-4896-6/museen-der-zukunft/ More on Benvenuto Cellini and the theft of the Saliera: https://en.wikipedia.org/wiki/Benvenuto_Cellini https://secretvienna.org/the-saliera-a-very-special-tableware/ ABOUT THE HOST: I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations include contemporary art, specifically feminism and artificial intelligence in artistic practice, as well as museum policies and arts engagement. Here are links to my social media, feel free to reach out: Instagram @alexandrasteinacker Twitter @alex_steinacker and LinkedIn at Alexandra Steinacker-Clark COVER ART: Lisa Schrofner a.k.a Liser www.liser-art.com

An adventurous Renaissance artist's action-packed autobiography provided compelling inspiration for Hector Berlioz's first completed opera, Benvenuto Cellini.  Berlioz strongly identified with the notorious Cellini, seeing in him a mirror of his own bravado, skill, and passion… and uses this identification to add to the story.  The result is a relentlessly entertaining opera that is by turns comic, poignant, farcical, political, and romantic. Hosted by Pat and Kathleen Van De Wille