Null Attributed to Domenico PARODI (1672 - 1742
)Judith holding the head of Holo…

Description

Attributed to Domenico PARODI (1672 - 1742 )Judith holding the head of Holofernes and AbraCanvas123 x 98.5 cmUnframed A certificate from Herrmann Voss dated 1929 suggests this attribution to Parodi. Mary Newcome confirms the attribution. The crumpled draperies are similar to those of Gian Battista Merano's paintings and the rounded figures to Parodi's paintings and frescoes.

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Attributed to Domenico PARODI (1672 - 1742 )Judith holding the head of Holofernes and AbraCanvas123 x 98.5 cmUnframed A certificate from Herrmann Voss dated 1929 suggests this attribution to Parodi. Mary Newcome confirms the attribution. The crumpled draperies are similar to those of Gian Battista Merano's paintings and the rounded figures to Parodi's paintings and frescoes.

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Surroundings of Filippo PARODI (1630-1702). Northern Italy, first third of the 18th century. Saint John the Baptist as a child. Marble. During the second half of the 17th century, Genoese sculptors assimilated Roman Baroque models and developed, around Filippo PARODI, an art that was both sensitive and elegant. Juvenile anatomy, with its round, full forms, became the preferred medium for allegorical representations, or those associated with Christ's childhood. The marble of the Sleeping Infant Jesus, sculpted by Flippo PARODI around 1675, is a sublime illustration (The Cleveland Museum of Art, inv. 2018.257). The delicate features of our young John the Baptist, with his narrow mouth, full lips and large, sharply incised eyes, are perfectly in keeping with Ligurian production from the turn of the 17th century. The modulations of the surface, from the rough treatment of the hair and fleece of the lamb, where the skillful handling of the drill bit is exercised, to the silkier rendering of the pelisse draped around the child, to the meticulous polishing of the complexions, are also reminiscent of Genoese models. Similar variations can be found in Venetian sculpture. In fact, it is interesting to note that Parodi was also active in Padua and Venice in the last quarter of the 17th century. the slightly hollowed-out back of the marble, where traces of the gradine are apparent, indicates that it was certainly designed for a niche or altarpiece. Note also the subtlety with which the young saint's upward gaze, probably directed at a group of the Virgin and Child he was to accompany, is barely suggested by the shadow cast by the upper eyelids. The author of this marble is probably to be found in the circle of Flippo Parodi, whose style is a cross between Roman models - those of Gian Lorenzo Bernini, Alessandro Algardi and Ercole Ferrata - and Pierre Puget, active in Genoa between 1661 and 1668. In addition to his son Domenico (1668-1740), Filippo's pupils included his son-in-law Giacomo Antonio Ponsonelli (1654-1735), Francesco Biggi (1676-1736) and Angelo de Rossi (1671-1715). The last Genoese work by the latter before his departure for Rome is the marble Jeune Satyre mangeant du raisin (Young Satyr eating grapes), preserved in Genoa's Palazzo Reale (inv. 570). A small piece of the cross has been glued back and the top is missing. Comparable works: Filippo PARODI, Sleeping Child Jesus, circa 1675, The Cleveland Museum of Art. Filippo PARODI, Allegory of Life and Death, Museo Civico, Asolo. Angelo DE ROPSSI, Young Satyr eating grapes, Palazzo Reale, Genoa. We would like to thank Stéphanie Veyron, CNES expert, for her research on this sculpture. Dimensions: Height 54 cm. Width 52 cm. Depth 32 cm.

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