Per Domenico Parodi (di Giovanni Antonio) scultore genovese

• Autores: Daniele Sanguineti
• Localización: Paragone. Parte arte, ISSN 1120-4737, Nº 128, 2016, págs. 17-39
• Idioma: italiano
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• Resumen

  • A parallel reading of available sources and new documents casts a more accurate light on Domenico Parodi, the Genoese sculptor who had the same name as the son of Filippo Parodi, with whom he is often confused. New observations, above all regarding his training, emerge from a comparision of the two editions of Carlo Giuseppe Ratti's biography, also with respect to that of Filippo Parodi, who collaborated with him and lived with him in Rome, according to Ratti. It was in Roma that Domenico absorbed the "far grande" approach he had seen in the workshops of the Bernini circle, and which he put into practice more than Filippo himself on his return to Liguria, producing works in both marble and wood. A review of his oeuvre, including the unpublished Madonna in Savignone (1690), and the revised dating of the Algardi-inspired Baptism in the church of Santa Maria delle Vigne, Genoa (1690-1691, not 1697), reveals a consistent evolution in the sculptor's rhetorical language.