Between the seventeenth and eighteenth centuries Baroque art - the search for wonder, fiction and amazement, the motion of affections, pathetic emphasis and ecstasy - brought great protagonists to the fore in Genoa: in painting, sculpture, in the involving great size of the fresco and in the small, precious one, of the design, of the fabric, of the majolica. These protagonists, famous and successful artists of their time, were actors of great transformations of taste in the city and at times were able to establish themselves on the national and international scene by attracting commissions coveted by prestigious clients.
A "superb" Baroque that of Genoa, as the title of the Scuderie del Quirinale in the contemporary Roman exhibition SuperBarocco, dedicated to Genoese art between 1650 and 1750.The review The Protagonists. Masterpieces in Genoa 1600 - 1750 is ideally connected to the Roman exhibition and the Genoese exhibition La Forma della Meraviglia. Masterpieces in Genoa 1600 - 1750 in Palazzo Ducale (March 27 - July 10) to celebrate together, at the same time, this extraordinary artistic season: that of a splendid and amazing baroque, which looking at external, "international" models (not only and certainly Rome, but also the space painting of the sixteenth century in Emilia, the rhetoric of light of the Nordic naturalists, the lively Berninian sculpture mediated by the forms of the Frenchman Pierre Puget, and other references), however, translates them into a singular and refined language, with figures peculiar and recognizable, which become the 'Genoese' acronym of the activity of their shops, interconnected with each other in common references for a refined, brilliant baroque, like an elite and precious gem.
The exhibition is dedicated to the four sculptures by Filippo Parodi, called The Metamorphoses exhibited since the 18th century in the Mirror Gallery of the Royal Palace of Genoa: four white marble statues with traces of gilding which represent, according to a consolidated critical tradition , Venus, Adonis, Clizia and Hyacinth. Probably foreseen for a garden or in any case an open space, the four statues were introduced in the gallery of the palace in via Balbi by Filippo's son, Domenico Parodi, author of the Gallery of Mirrors in the setting desired, around 1726, by Gerolamo Durazzo.