菲利波 · 帕罗迪Filippo Parodi（1630年——1702年7月22日），意大利雕塑家
出生在热那亚成一个家族的雕塑家,Parodi开发设施和木头,然后他掌握转移到大理石在1670年代。他的两个扩展在罗马逗留精炼他的风格,他加入了工作室的贝尔尼尼作为一个助理(1655 - 1661),尽管他似乎是受到Algardi和他的学生Ercole Ferrata。后来回到热那亚,他会见了法国巴洛克雕刻家皮埃尔普吉1661年至1666年,他在热那亚。Parodi开发大型工作室来处理大量的佣金。
在热那亚在1661 - 1670年代,他完成了一个狂喜的圣玛莎圣玛尔塔,圣约翰圣玛丽亚迪Carignano和一个处女和儿童桑蒂Vittore e卡洛.
1691年,他被称为帕多瓦,在那里他和他的工作室负责6白色大理石雕塑的圣徒和圣安东尼的荣耀(1689 - 97)的彩色大理石设置清唱del Tesoro(“教堂的宝藏”)帕多瓦的圣安东尼教堂。檐口挤满了庆祝的天使stuccador从卢加诺,Pietro Roncaioli.
在威尼斯他完成了复杂的葬礼纪念碑的主教弗朗西斯科·莫洛西尼(1678)圣尼古拉da Tolentino.
为约翰亚当Andreas von列支敦士登维也纳,他产生了两个寓言萧条:副和美德,它仍在列支敦士登集合,维也纳。表达的半身像副都有一个特定贝尔尼尼在贝尔尼尼的来源吗生命dannata.
他的雕塑委托Eugenio都拉佐在1679年的改造宫殿Balbi都拉佐、热那亚、保持原位(现在宫殿Reale);它们是感伤的基督在列教堂和一组四个神话人物奥维德的变形记(金星,克里提,阿多尼斯和风信子)的花园。雕像往往情感而诙谐的雕塑再加工形成的新歌贝尔尼尼.
Parodi也曾与Giacomo安东尼奥Ponsonelli(1654 - 1735)意大利巴洛克晚期雕塑家谁也是他的女婿。Parodi的儿子,多梅尼科Parodi(1672 - 1742),是一个画家的一些优点,最初当学徒Sebastiano Bombelli在1690年代早期,在工作室的工作卡洛Maratta然后他的学生保罗Girolamo Piola。其他学生的Parodi安吉洛。德。罗西,安德里亚Brustolon,两兄弟弗朗西斯科,弗朗西斯科·Bonanni,Bernardo Schiaffino.
Born in Genoa into a family of sculptors, Parodi developed his facility with wood, then transferred his mastery to marble in the 1670s. His two extended sojourns in Rome refined his style; he joined the studio of Bernini as an assistant (1655–1661), although he appears to have been influenced by Algardi and his pupil Ercole Ferrata. Later on returning to Genoa, he met the French Baroque sculptor Pierre Puget, who stayed in Genoa from 1661-1666. Parodi developed a large studio to handle a large number of commissions.
In Genoa during the 1661-1670s, he completed an Ecstasy of Saint Martha for Santa Marta, a Saint John for Santa Maria di Carignano, and a Virgin and Child for Santi Vittore e Carlo.
In 1691 he was called to Padua, where he and his studio were responsible for the six white marble sculptures of saints and the Glory of Saint Anthony (1689–97) in the polychrome marble setting of the Cappella del Tesoro ("Chapel of the Treasure") at the Basilica of Saint Anthony of Padua. The cornice is crowded with celebrative angels by a stuccador from Lugano, Pietro Roncaioli.
In Venice, he completed the elaborate funeral Monument of Bishop Francesco Morosini (1678), in San Nicolò da Tolentino.
For Johann Adam Andreas I von Liechtenstein of Vienna, he produced two allegorical busts: Vice and Virtue, which remain in the Liechtenstein collection, Vienna. The expressive bust of Vice has a specific Bernini source in Bernini's Anima dannata.
His sculptures commissioned by Eugenio Durazzo in 1679 during the renovation of the Palazzo Balbi Durazzo, Genoa, remain in situ (the present Palazzo Reale); they are a sentimental Christ at the Column for the chapel and a set of four mythological figures from Ovid's Metamorphoses (Venus, Clytie, Adonis, and Hyacinth) for the garden. The statues are emotive and often witty reworkings of sculptures by Bernini.
Parodi also worked with Giacomo Antonio Ponsonelli (1654–1735) an Italian late-Baroque sculptor who was also his son-in-law. Parodi's son, Domenico Parodi (1672–1742), was a painter of some merit, initially apprenticed with Sebastiano Bombelli, then, in the early 1690s, working in the studios of Carlo Maratta and then his pupil Paolo Girolamo Piola. Other pupils of Parodi were Angelo de' Rossi, Andrea Brustolon, the brothers Francesco, Francesco Bonanni, and Bernardo Schiaffino.
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