Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius
This group is inspired by Virgil’s epic
Коротко кажучи
На думку експертів галереї, найвідоміший витвір Filippo Parodi — це Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius (1661), оригінал якого експонується в Calouste Gulbenkian Foundation, Лісабон. Adonis (1680) та Immaculate Conception (1700) доповнюють тріо, яке впізнає кожне око. З 11 робіт Filippo Parodi у нашому каталозі галерея представляє 11 найвідоміших нижче — кожна з них є оригіналом із зазначенням року створення, музею та унікальних особливостей.
This group is inspired by Virgil’s epic
6 музеїв, у яких зберігається найбільша кількість картин із цього списку.
| Музей | Місто | Твори Filippo Parodi | Картини зі цього списку |
|---|---|---|---|
| Genova | 5 | Adonis, Venus, Hyacinth | |
| Відень | 2 | Allegory of Vice, Allegory of Virtue | |
| Лісабон | 1 | Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius | |
| Genova | 1 | Immaculate Conception | |
| Genova | 1 | Immaculate Conception | |
| Флоренція | 1 | Virgin and Child |
Оберіть десятиліття, щоб побачити оригінальний твір, який його визначає.
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, Лісабон. Далі йдуть Adonis (1680) та Immaculate Conception (1700).
31 років: Aeneas Carrying His Father Anchises and the Penates, Followed by the Young Ascanius датована 1661 роком, а Filippo Parodi народився(-лася) у 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 та Allegory of Virtue. У рейтингу вище вказано рік створення та музей для кожної картини.
Наш каталог містить 11 робіт Filippo Parodi, датованих періодом з 1660 по 1700.
Переважно в Galleria di Palazzo Reale (Genova), Liechtenstein Museum (Відень) та Calouste Gulbenkian Foundation (Лісабон). У таблиці музеїв вище наведено їхній повний перелік.
У 1680s: 6 із 11 робіт на цій сторінці були створені тоді, серед них Adonis.
На цій сторінці найдавніша робота датована Immaculate Conception (1660), а найновіша — Immaculate Conception (1700).
Adonis, Venus та Hyacinth: Galleria di Palazzo Reale, Genova зберігає 5 робіт із цієї сторінки.
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.