Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius
This group is inspired by Virgil’s epic
Kratek opis
Za oči galerije je najbolj znano sliko umetnika Filippo Parodi delo Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius (1661), katere original visi v muzeju Calouste Gulbenkian Foundation, Lisabon. Adonis (1680) in Immaculate Conception (1700) dopolnjujeta trijo, ki jo prepozna vsak pogled. Od 11 del avtorja Filippo Parodi v našem katalogu galerija spodaj predstavlja 11 najbolj znanih; vsako je original z letom nastanka, pripadajočim mu muzejem in opisom tistega, kar ga dela edinstavnim.
This group is inspired by Virgil’s epic
6 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Filippo Parodi | Slike iz tega seznama |
|---|---|---|---|
| Genova | 5 | Adonis, Venus, Hyacinth | |
| Benetignano | 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 | |
| Firence | 1 | Virgin and Child |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
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. Zatem sledeta Adonis (1680) in Immaculate Conception (1700).
31 let: delo Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius iz leta 1661, Filippo Parodi pa je bil/a rojen/a leta 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 in Allegory of Virtue. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 11 del avtorja Filippo Parodi, datiranih od 1660 do 1700.
Večini v Galleria di Palazzo Reale (Genova), Liechtenstein Museum (Benetignano) in Calouste Gulbenkian Foundation (Lisabon). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1680s: 6 od 11 del na tej strani je bilo izdelovanih takrat, med njimi pa Adonis.
Na tej strani je najstarejše delo iz Immaculate Conception (1660) in najstarejše iz Immaculate Conception (1700).
Adonis, Venus in Hyacinth: v muzeju Galleria di Palazzo Reale, Genova se nahaja 5 del z te strani.
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.