Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius
This group is inspired by Virgil’s epic
Stručně řečeno
Z pohledu galerie je nejslavnějším dílem Filippo Parodi obrazem Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius (1661), jehož originál je vystaven v Calouste Gulbenkian Foundation v obci Lisabon. Adonis (1680) a Immaculate Conception (1700) doplňují trio, které každé oko okamžitě pozná. Z 11 děl umělce Filippo Parodi v našem katalogu představuje galerie níže 11 nejznámějších děl, z nichž každé je originálem s uvedením roku vzniku, muzea a toho, co jej činí jedinečným.
This group is inspired by Virgil’s epic
6 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Filippo Parodi | Obrazy z tohoto seznamu |
|---|---|---|---|
| Genova | 5 | Adonis, Venus, Hyacinth | |
| Vídeň | 2 | Allegory of Vice, Allegory of Virtue | |
| Lisabon | 1 | Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius | |
| Genova | 1 | Immaculate Conception | |
| Genova | 1 | Immaculate Conception | |
| Florencie | 1 | Virgin and Child |
Vyberte si dekádu a prohlédněte si originál, který ji definuje.
This group is inspired by Virgil’s epic
Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius (1661), Calouste Gulbenkian Foundation, Lisabon. Následují Adonis (1680) a Immaculate Conception (1700).
31 let: dílo Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius pochází z roku 1661 a Filippo Parodi se narodil/a v roce 1630.
Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius, Adonis, Immaculate Conception, Immaculate Conception, Venus, Hyacinth, Clytie, Christ at the Column, Allegory of Vice a Allegory of Virtue. Hodnocení výše uvádí rok a muzeum pro každé z nich.
Náš katalog obsahuje 11 děl umělce Filippo Parodi z let 1660 až 1700.
Většinou v Galleria di Palazzo Reale (Genova), Liechtenstein Museum (Vídeň) a Calouste Gulbenkian Foundation (Lisabon). V tabulce muzeí výše jsou vypsány všechny.
V období 1680s: 6 z celkem 11 děl na této stránce vzniklo právě tehdy, z toho Adonis z nich.
Na této stránce je nejstarší dílo z Immaculate Conception (1660) a nejnovější z Immaculate Conception (1700).
Adonis, Venus a Hyacinth: muzeum Galleria di Palazzo Reale, Genova má v obsluze 5 děl z této stránky.
Filippo Parodi stands as a monumental figure in the history of Genoese Baroque sculpture, a master who earned the enduring title of Gemma’s first and greatest native sculptor. Born in 1630 into a lineage deeply rooted in artistic craftsmanship, Parodi was destined for the chisel. His father, Giovanni Battista, was a respected woodcarver, and it was within the intimate, sawdust-filled atmosphere of the family workshop that Filippo first learned to breathe life into raw material. This early immersion in the delicate intricacies of wood carving gifted him with an extraordinary sensitivity to form and texture—a foundational skill that would later allow him to transition seamlessly from the warmth of timber to the cold, commanding elegance of marble and the fluid grace of stucco.
The trajectory of Parodi’s career was irrevocably altered by his transformative journey to Rome. Between 1655 and 1661, he secured an apprenticeship within the studio of Gian Lorenzo Bernini, the undisputed titan of the Baroque era. To work under Bernini was to witness the very pinnacle of dramatic composition and technical virtuosity. Through this immersive experience, Parodi absorbed the secrets of movement, light, and theatricality that defined the Roman High Baroque. Yet, his artistic vision was not merely a mirror of his master; he also drew profound stylistic cues from the works of Algardi and Ercole Ferrata, synthesizing these diverse influences into a unique aesthetic language that blended Roman grandeur with a distinct Genoese sensibility.
Upon his return to Genoa in the mid-1670s, Parodi did not merely return as a student, but as a master capable of reshaping the city's visual landscape. His arrival coincided with a period of intense artistic ferment, and he quickly became a central figure in the local creative community. The sculptor’s ability to manipulate different media allowed him to dominate both large-scale architectural decorations and intimate, emotive busts. His work often captured the tension between the physical weight of stone and the ethereal lightness of divine grace, a hallmark of the Baroque spirit.
The significance of Parodi's contribution extends far beyond his individual masterpieces; he established a standard of excellence that influenced generations of Ligurian artists. His career was marked by several key achievements:
As we look upon the enduring works of Filippo Parodi, we see more than just stone and pigment; we see the triumph of a native talent who took the lessons of Rome and used them to crown his home city with splendor. His life, spanning from 1630 until his death in 1702, remains a testament to the power of tradition meeting innovation, leaving behind a sculptural heritage that continues to captivate the soul of Genoa.