(Verona 30 April 1664 - 27 January 1738)
The son of Francis,, a marble engraver and architect, and Elisabetta Bottacin, he was born in Verona in the district of San Michele alla Porta, and baptized on 6 May in the Chiesa dei Ss. Apostoli, with the name of Alexander Jacobus . Guided towards painting by his brother Marco, he was a very young pupil of Biagio Falcieri and Felice Cignani, and was sent to Bologna at the age of 17 to continue his studies under the guidance of Carlo Cignani.
His first commission in 1687 was of the Chiesa di San Domenico in Verona which had suffered damage due to a fire, Marchesini having the task of frescoing the ceiling with scenes from San Domenico and Santa Caterina da Siena and it was here that his Venetian-Emilian style became evident, which then took on the name of Bolognesising.
For Marchesini, the last years of the seventeenth century were full of commissions, for both churches and palaces, but it was exactly in these years that he and his family moved to Venice, after creating the painting Galatea, which had been criticized, the his work judged as just the painting of women; it was in Venice that he met a different client, this meeting with Stefano Conti, an important art collector in 1705 leading him to change the direction of his work. He began to produce many paintings for the foreign market, particularly Germany and for collectors of mythological subjects in a small format.
There is a documented and intense epistolary relationship between the Marchesini and the Conti, and in 1707 it seems that there were 11 paintings in the Conti gallery; contact was then lost and resumed in later years. In this correspondence, there remains a letter addressed to him from the collector as a recommendation for two young painters; one, about Giovanni Antonio Canal reads: Antonio Canal universally stuns everyone who admires his works, because he sees light within the sun , dated July 1725 the other being Marco Ricci. In the early 1700s he was art master for the young Veronese painter Carlo Salis. His return to Verona took place in 1737 to the house that had been the home of the painter Odoardo Perini.
The work on display there represents a biblical scene showing tangencies with the two works by Marchesini which have been preserved in the Molinari Pradelli collection.