Paolo Anesi (1697 – 1773), Ambito di - Paesaggio fluviale con vista sul castello

Scope of Paolo Anesi (Rome, 1697 – ibid. , 1773)
River landscape with a view of the castle.
Oil on panel, 27 x 37 cm – With frame 37. 5 x 47 cm

The airy spatiality guaranteed in the deep perspective of the painting, the architecture, trees, streets, figures that happily vibrate in the incidence of light, together with the general intonation of the free and mobile atmosphere that eliminates any documentary intention from the view allow us to recognize in the present an echo of the work of Paolo Anesi (1697-1773) , the most important eighteenth-century Roman landscape painter.
A multifaceted Roman artist from a family of Venetian weavers, he was born in Rome in 1697. He trained in the workshop of Giuseppe Bartolomeo Chiari first and Bernardino Fergioni then, Anesi stayed in the city of Florence. Here, within the flourishing workshop challenged by his direction, Francesco Zuccarelli, a well-known landscape artist who spread the master's methods in London, trained among others. Returning to the capital, Anesi soon became recognized as a renowned landscape painter, patron of a style coined in the underlying context of Roman Arcadia, but reinvigorated by Bamboccia influences and fueled by greater coloristic vigor. His attention to the landscape predominates over his interest in architecture and ruins and ignores realistic data; he prefers to avoid the scenographic openings and "conceived" compositions common at that time. In his views he escapes the Vanvitellian analytical rule by interpreting the chosen corner in an overall vision, mostly an unadorned suburb on the banks of the Tiber or a quiet countryside, with rare figures of wayfarers, in an undisturbed midday hour.
His ductus pingendi, characterized by a tense brushstroke in filling the color backgrounds and finely detailed in the widespread particularism of the panoramas, made him an artist sought after by the excellent fringe of noble art connoisseurs. Member of the Congregation of the Virtuosi at the Pantheon from 1757, requests for frescoes for the residences of Prince Massimo in Arsoli di Tivoli extended to him, then in 1761 for Villa Albani and in 1767 for the Chigi and Doria Palaces. The historicism that reigned in Rome at the time made him stand out as an intelligent innovator within landscape painting, to which the artist combined not only traditional Roman ruins, but also lively figurines typical of the Rococo epic. Anesi was able to do as much on the Italian peninsula as on Anglo-Saxon soil: his lesson spread unchallenged among the most up-to-date writers of landscape painting, characterizing refined international production.
Some of the artist's paintings, widely distributed within private collections, are preserved today in the Pallavicini Gallery, Corsini Gallery, Forlì Civic Art Gallery (Pedriali collection) and at the Diocesan Museum of Milan, Casa Martelli Museum, Florence.

The frame is provided free of charge, therefore it cannot be a reason for return or complaint.

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