↗France, late 19th century-early 20th century · c. 1915–26
Water Lilies (Agapanthus)
Claude Monet
Gift of Mark Fletcher and Tobias Meyer, in celebration of the Museum's 150th Anniversary, 2018 · The Metropolitan Museum of Art
Image licence: CC0 · Museum record & image source ↗
Italy · ca. 1670s
Allegory of Autumn (Bacchus)
- Date
- ca. 1670s
- Medium
- Carved poplar, varnished and gilt
- Dimensions
- Height: 42 15/16 in. (109.1 cm)
- Country / context
- Italy
- Movement / tradition
- European and American art
- Collection
- The Metropolitan Museum of Art
- Attribution / role
- Filippo Parodi and workshop
- Pathway
- European and American art ↗
ABOUT THIS WORK
The Met attributes this carved allegory to Parodi and his workshop. Varnish and gilding are part of its surface, so its appearance involves both sculpted form and applied finishes; it should not be read as bare wood alone.
Original educational overview · based on the linked museum recordPlace in the artist’s career
Compare the intimate marble Sleeping Christ with the carved, varnished and gilt Bacchus and the later funerary monument. White stone, treated wood and architectural scale create different experiences of flesh and movement. Bacchus is catalogued with workshop participation; the museum’s discussion of the tomb supplies context rather than a complete object record.
The artist’s practice
Artist-wide context; individual works may differ.
Media and surface
Marble, treated wood and architectural ensembles require different carving and workshop processes.
Marks and structure
Projecting limbs and animated drapery invite viewing from multiple angles.
Palette and light
White stone, varnish and gilding produce different kinds of reflected light and apparent warmth.
A MOMENT TO LOOK
Start with what you can see: shapes, surface, colour and scale. How might the listed materials affect the way this object was made and experienced?
Looking prompt · an invitation to observe, not a historical interpretation.
