Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius
This group is inspired by Virgil’s epic
In short
To the gallery's eye, Filippo Parodi's most famous painting is Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius (1661), whose original hangs in the Calouste Gulbenkian Foundation, Lisbon. Adonis (1680) and Immaculate Conception (1700) complete the trio every eye recognises. Of the 11 works by Filippo Parodi in our catalog, the gallery presents the 11 most famous below, each original with its year, its museum and what makes it unique.
This group is inspired by Virgil’s epic
The 6 museums that hold the most of the paintings on this page.
| Museum | City | Works by Filippo Parodi | Paintings from this list |
|---|---|---|---|
| Genova | 5 | Adonis, Venus, Hyacinth | |
| Vienna | 2 | Allegory of Vice, Allegory of Virtue | |
| Lisbon | 1 | Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius | |
| Genova | 1 | Immaculate Conception | |
| Genova | 1 | Immaculate Conception | |
| Florence | 1 | Virgin and Child |
Pick a decade to see the original that defines it.
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, Lisbon. Adonis (1680) and Immaculate Conception (1700) come next.
31 years old: Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius dates from 1661, and Filippo Parodi was born in 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 and Allegory of Virtue. The ranking above gives each one's year and museum.
Our catalog holds 11 works by Filippo Parodi, dated from 1660 to 1700.
Mostly in Galleria di Palazzo Reale (Genova), Liechtenstein Museum (Vienna) and Calouste Gulbenkian Foundation (Lisbon). The museum table above lists them all.
In 1680s: 6 of the 11 works on this page were made then, Adonis among them.
On this page, the earliest is Immaculate Conception (1660) and the latest Immaculate Conception (1700).
Adonis, Venus and Hyacinth: the Galleria di Palazzo Reale, Genova holds 5 of the works on this page.
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.