Still-life with Fish, a Squid and Sea Urchins
Zauli Naldi legacy, 1965
The Still-life with Fish, a Squid and Sea Urchins, which is difficult to date with any precision though it must have been painted in the 1670s, is, outside the conventional pigeonholes in which the genre is confined, the most important piece of Neapolitan art in the Pinacoteca di Faenza’s collections and an example of the early maturity of the best-known member of the Recco family. Recco here takes what he has learnt of Ribera’s skin-deep stylish artifice and builds it into a seemingly simple yet admirably and correctly conceived composition.
The artist’s absolutely free handling of the fish, peppered with a myriad tiny bullets of light, would suffice on its own to confirm that the best creations of the post-Caravaggesque scene in Naples were consumed in the space of a mere thirty years, between the collapse of the Caravaggesque experimentalism that spanned the 1620s and Ribera’s return to virtuoso brushwork and surface effects, while, caught in the crossfire, Luca Forte, Giovanni Battista Recco and other still-life specialists were bravely attempting to raise their heads. The corroborated realism of the tone-on-tone design of the surface of the basket full of sea urchins, or the nail added to balance the composition, not to mention the fish, straight as a red blade in a ceaseless wash of dark shadows, are as many details of unprecedented subtlety that demand, today as they did in the past, the assistance and amenability of an attentive observer.
That, however, is the most demanding legacy for us to handle, accustomed as we are in the age of social media to looking at everything while seeing nothing. Coming to a peak in the nail holding the fish standing off its shadow on the wall, the picture clearly tells us that our visual re-education will also entail a study of the attention-triggering genre that is the still-life.

