By: Amy Fredrickson
Filippo Parodi died in Genoa on July 22, 1702. Parodi learned the art of sculpting in his native Genoa; however, he spent two six year periods working and studying in Rome, where he absorbed Bernini’s approach to sculpture. Parodi worked with several mediums including, stone, stucco, and wood. His oeuvre is representative of the Baroque Roman artistry popular at the time. Parodi designed sculptural decorations for altars and also produced several mythological figures.
The Metropolitan Museum of Art holds a figure of Bacchus dated to the 1670s. This is one of four statues that Parodi used to represent the seasons. Bacchus is designed to be observed from each angle.
After 1699, there are no works credited to Parodi’s name. Giacomo Antonio Ponsonelli (1654-1735) married Parodi’s daughter and collaborated with him on several works until Parodi died. Since their works are stylistically similar, it is difficult to differentiate between the two artists.
Jordan, Marc. “Parodi, Filippo.” The Oxford Companion to Western Art. Oxford Art Online. Oxford University Press, accessed July 21, 2017, http://www.oxfordartonline.com.online.library.marist.edu/subscriber/article/opr/t118/e1980.
Oreste Ferrari and M. Newcome. “Parodi.” Grove Art Online. Oxford Art Online. Oxford University Press, accessed July 21, 2017, http://www.oxfordartonline.com.online.library.marist.edu/subscriber/article/grove/art/T065548pg1.
Wittkower, R. Art and Architecture in Italy, 1600–1750, (Harmondsworth, 1958), pp. 297–9
Rotondi Briasco, P., Filippo Parodi (Genoa, 1962)
Allegory of Virtue, marble, 1684-94, Liechtenstein Museum, Vienna
Allegory of Autumn (Bacchus), carved wood, c. 1670s, The Metropolitan Museum of Art, New York
Funeral Monument of Cardinal Gianfrancesco Morosini, marble, c. 1680, San Nicola da Tolentino, Venice