This magnificent white marble sculpture depicts the Immaculate Conception. It dates from the late 17th century and originates from Genoa, Italy. The sculpture depicts the Virgin Mary on the theme of the Immaculate Conception, in a typically Baroque interpretation. Mary is depicted standing with her arms folded in an exaggerated gesture of divine acceptance, wrapped in an ample floating cloak with dynamic folds that create an upward movement.

Beneath her bare feet, she treads an undulating snake munching an apple, symbolizing original sin. There are also two clouds on the front and back of the base. She thus symbolizes an allegory taken from the Apocalypse, symbolizing her celestial purity. The balance between Baroque theatricality and spiritual grace is perfectly mastered here.

This sculpture is typical of Genoa’s late Baroque style, with its controlled theatricality. The composition shows great finesse, with alternating solids and voids, particularly in the bound hands of the Virgin. Indeed, these intertwine in a gesture of contemplation, a true technical feat.

The fluid movement of her mantle is particularly visible in the drapery, animating the figure with an inner élan and a great sense of lightness and spiritual elevation. The face is soft and refined, with a straight nose, expressive eyes and full, half-open lips. Even the scales of the snake at her feet are finely crafted with precision and detail. This sculpture is the embodiment of the sacred in matter, becoming alive and spiritual with the sculptor’s touch.

A hole in the back of her head indicates the past presence of a crown of stars, a direct reference to the iconography of the crowned Immaculate Conception.

The cult of the Immaculate Conception began as early as the 7th century in Spain, and subsequently developed widely in Christian art in the 14th century. It reached its apogee in the Baroque period, especially in Genoa, where Mary was venerated as protector of the city and of sailors setting sail. Thus, this work was probably destined for an urban niche or private altar, illustrating popular piety.

Many Italian sculptors have portrayed this theme, but after much research, this sculpture can be attributed to the entourage of Filippo Parodi. He was one of Genoa’s greatest sculptors of the 17th century, known for his intricate drapery and delicate carvings. Born into a family of sculptors, he started out as a woodcarver before gradually turning to marble.

In this work, Parodi, heir to Bernini’s style and influenced by Pierre Puget, succeeds in infusing marble with an almost supernatural vitality. He gives the material an expressive fluidity that arouses emotion and spiritual elevation in the viewer. He developed a great artistic center, symbolizing the Genoese Baroque, which subsequently spread throughout Europe.

The sculptor also employed the technique of the drill bit, a hand-powered drilling tool operated by a bow. This tool has been used since antiquity to reach reinforcements, clear hard-to-reach areas and roughen grooves by forming cylindrical cavities. This slow, precise technique is designed for fragile areas in materials such as wood, stone and marble.

This immaculate conception achieves extreme refinement in the typological framework of the Virgin in flight, combined with remarkable skill in the treatment of the marble. A true technical feat, this sculpture is a formidable demonstration of the skill and genius of Genoese artists of the period.