Praised during his lifetime as one of the most brilliant vedute painters of 18th-century Italy, Paolo Antonio Anesi remains, nevertheless, a figure whose life and work are still little studied. Like his eminent contemporary Panini, Anesi began his artistic training at an early age, under Bernardino Fergioni, known as Lo Sbirretto (1674–1738). In his studio, he met Andrea Locatelli, two years his senior, which likely sparked his interest in architectural representation. His work was also nourished by the prolific output of Sebastiano Conca, although no documents confirm that he was ever his pupil. It was thus natural for him to specialize in the depiction of urban landscapes, drawing on his knowledge of perspective and architecture.
The young painter quickly integrated into the Roman artistic milieu, forming ties with some of its leading figures, including Giovanni Paolo Panini, one of his neighbors when he lived on Piazza Farnese in 1724. A true friendship is also attested with the French marine painter Adrien Manglard (1695–1760), who in 1737 became the godfather of Anesi’s eighth child, as well as with the vedute painter Antonio Joli (1700–1777), who stood as confirmation sponsor for his eldest son Luigi.
Like most landscapists of his time—such as Locatelli or Monaldi—many of his canvases were created for the Roman aristocracy, but also for foreign clients, Grand Tour travelers in search of lasting souvenirs (ill. 1). This prolific output explains the absence of a signature on many of his works: paintings were often recorded in lots, without description or mention of location.
Even more prestigious, the painter received commissions from the House of Savoy: his idealized landscapes served to reinforce the cultural and political authority of the influential dynasty.
Active in Rome, Anesi never left his native city. The panoramas offered by its hills provided him with a multitude of striking viewpoints. The Aventine, one of Rome’s seven hills, appears to have been a favorite. To execute our painting, Anesi positions himself on the Isola Tiberina, a small island in the middle of the Tiber, connected to the left bank by the Ponte Cestio and to the right bank by the Ponte Fabricio. From this vantage point, the Ponte Cestio spans the Tiber at the center of the composition. Built during the Roman Republic, it is one of the city’s oldest bridges, designed to connect the island to the Trastevere district.
In keeping with the tradition of the great 17th-century landscape painters, such as Claude Lorrain or Gaspard Dughet, the artist combines the classical poetry of ruins—here, a broken column is visible in the foreground—with depictions of contemporary settings. While demonstrating topographical accuracy, his works are sometimes adorned with fictional or idealized elements. Anesi takes full advantage of his mastery of perspective, following a rigorous three-part construction: a foreground animated by figures, a middle ground structured by architecture, and a distant background, often rendered hazy through the use of atmospheric perspective, enhancing the illusion of depth.
Light also plays a major role. Soft and delicate, it draws the viewer’s eye to the center of the painting. The foreground, cast in shadows, intensifies the theatrical quality of the scene: here, the busy local inhabitants play a secondary but essential role, giving rhythm to the composition. It was not uncommon for the artist to call upon figure painters to complete his works. This is the case with Paolo Monaldi, with whom Anesi collaborated on several commissions, including the decoration of the Villa Chigi in Rome (ill. 2).
In Anesi’s compositions, architectural elements are depicted with precision and care, reflecting the grandeur of Italian craftsmanship, while natural features—such as the flowing river or the vegetation in the foreground—are rendered with a looser brush, giving them a sense of natural movement.
Unjustly overlooked in historical literature, Paolo Anesi nevertheless enjoyed great esteem within Roman society. Following in the tradition of the great landscape painters, he exerted a certain local influence and trained promising young artists such as Paolo Monaldi, with whom he collaborated on numerous occasions in his own compositions.
M.O
