Scenery paintings by cellini8/3/2023 “Essendo io per natura malinconico”: Benvenuto Cellini and the Ficinian Legacy 2.1 “Grand theories” and “grounded” early-modern artists 2.2 Marsilio Ficino’s On Love 2.3 “Melancholy genius” concept 2.4 (Neo)Platonic love Chapter 3. Benvenuto Cellini and the Florentine Academy 1.1 Why did the Italian academies emerge? 1.2 Academic movement before the Florentine Academy 1.3 The Florentine Academy 1.4 Benvenuto Cellini’s writings in the context of the Florentine Academy Chapter 2. _ Table of Contents Introduction Chapter 1. In Cellini’s Vita, the latter can not only turn humans almost into beast, literally (for example, in a bat) but, properly tempered by the means of music and poetry, as well as of individual and collective magic, it elevates one’s soul “on high,” which corresponds to the Neoplatonic concept of divine madness. These cases of radical affectivity are inscribed into Ficino’s concept of the “melancholy genius” manifesting melancholic madness. In particular, Marsilio Ficino’s On Love, first published in the vernacular Italian in 1544, helps to establish an explanation of what Cellini meant when he decided to play the cornet while falling in love simultaneously with a young boy and girl, or how he justified kicking or punching his servants, or why he did not kill his adversary, the artist Baccio Bandinelli, when he had the chance. Providing the variety of arguments on the connection between the artist and contemporary intellectuals, who attended the Florentine Academy (1540–1583) together, I demonstrate that Cellini’s literary production can be examined productively against the background of Neoplatonic thought. This study is devoted to the emotional experience of the famous Renaissance sculptor, goldsmith, and writer, Benvenuto Cellini (1500–1571), as it is portrayed in his life writing, the Vita.
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