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The Autobiography of Benvenuto Cellini. A Model of Resilient Vocation

100%
Forment Costa J. M.
Multidisciplinary Journal of School Education
|
2022
|
vol. 11
|
issue 1 (21)
115-127
EN
Benvenuto Cellini is one of the great sculptors of the 16th century. Already in his time, his works were admired in Rome, Paris and his native Florence. Beyond his works, his popularity has remained unchanged over the last four centuries thanks to his autobiography. This autobiography is an essential work for gaining first-hand knowledge of the sculptor's work, but also, and especially, of the anthropological vision of culture at the time. This article attempts to show this vision and at the same time to highlight how the reading of this autobiography is an example of how following one's vocation is a fundamental help in overcoming difficulties. 
2

Czy artyście wolno być przestępcą? Kilka pytań bez odpowiedzi

70%
Giżycki M.
Kwartalnik Filmowy
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2021
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issue 113 Film i technologia
232-242
PL
Czy mamy bojkotować ważne filmy dlatego, że ich autorom/autorkom coś się zarzuca? Czy mamy poddawać ostracyzmowi dzieła artystów/artystek, którzy w pewnym momencie swojego życia opowiedzieli się po stronie zbrodniczych reżimów? Czy mamy usuwać pomniki z przestrzeni publicznych, bo powstały w niesłusznej sprawie, nawet jeśli są ważne z punktu widzenia historii sztuki? Czy można oceniać wartość dzieł sztuki przez pryzmat życia ich twórców/twórczyń. Te i podobne pytania zadaje autor i pozostawia je bez odpowiedzi, przypominając, że już Roland Barthes pisał, iż ukończone dzieło odrywa się od autora i zaczyna żyć własnym życiem.
EN
Should we boycott important films only because their authors have been accused of some misconduct? Are we to exclude works of artists who at some point sympathized with criminal regimes? Are we to remove monuments from public spaces because they served a wrong cause, even if they occupy an important place in the history of art? Should the value of a work of art be judged in the light of its creator’s life? The author asks these and similar questions and leaves them unanswered. He evokes, though, Roland Barthes’ idea that once completed, the work detaches itself from the author and starts its own life.
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