Still-life with Fish, a Squid and Sea Urchins

Still-life with Fish, a Squid and Sea Urchins

Giuseppe Recco

date
c. 1680-1695
tecnique
oil on canvas
dimensions
90 x 68 cm
source of the artwork

Zauli Naldi legacy, 1965

short description

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.

inventary n°
241

Well-known to still-life connoisseurs and aficionados, the Faenza painting deserves to attract the esteem and attention of a far wider audience in its capacity, quite simply, as one of the great pictures of Neapolitan 17th century painting outside Naples, or in any event, as the greatest such painting belonging to the oldest museum in the Po Valley. The ploy of the goldfish warbling like a note held in a concert of dark shades, shows that it is in the pivotal segment of such pictures that we need to discern the peak of imagination and creativity in Neapolitan artistic circles in the middle of the century. Yet it is the entire presentation of the four sea creatures that is deceptively simple.

The fish in the centre, which has flopped into the foreground with its mouth, mirrors, a little to the side, a companion beast that arches upwards to display its tail. Between and overlapping the two, the red fish lies straight as a blade in the centre of the composition, cunningly turning into the tail of the lobster. This jumble is crowned by the squid’s watery body, painted on the basket in a play of transparencies. None of the masters of the brush on the local scene would have been capable of such a feat other than Luca Giordano, of course. This, especially since, on the basis of the most recent research, we are inclined to recognise Recco’s style, known also in the territory ruled by the Spanish crown, as being one of the true legacies of the greatest master of the late Baroque age – one might almost call it a “continuation of Giordano’s policy by other means”.

One last thing: as is often the case with respect to the generic manner in which still-life subjects were, and still are, presented, one cannot but admire the precision with which an art historian and connoisseur of the calibre of Federico Zeri (†1994) presented this painting, of which he had in his archive (now available for consultation on line) at least four black and white reproductions (various items of everyday domestic use: basket, invertebrates: lobster, mollusc, oyster, sea urchin, squid).

ARCHI 1966
A.Archi, “La donazione Zauli Naldi alla Pinacoteca Comunale di Faenza”, Musei e Gallerie d’Italia, XI, 1966, 29, p. 43

CASADEI 1991
S. Casadei S., Pinacoteca di Faenza, Faenza 1991, pp. 15, 16.

R.CAUSA 1972
R. Causa, La natura morta a Napoli nel Sei e del Settecento, in Storia di Napoli, vol. V., 2, Naples – Cava dei Tirreni 1972, pp. 995-1055

S. CAUSA 2018
S.Causa, La parola alle cose. Sentieri e scritture della natura morta (1922-1972), Naples 2018.

The images are the property of the Pinacoteca Comunale di Faenza. For the use of the images, please write to infopinacoteca@romagnafaentina.it.

written by
Stefano Causa