Giacomo Legi

With Paolo Sapori, Spoleto.

Turin, Fondazione Accorsi, L'incantesimo dei sensi: una collezione di nature morte del Seicento per il Museo Accorsi, 30 November 2005 - 1 May 2006, no. 20.

A. Orlando, "Un fiammingo a Genova: documenti figurativi per Giacomo Legi," in Paragone, vol. 4, November 1995, p. 73, reproduced plate 65;
A. Orlando, "I fiamminghi e la nascita della natura morta a Genova. O del trionfo dell'Abbondanza," in P. Boccardo and C. Di Fabio, Pittura fiamminga in Ligura Secoli XIV-XVII, Cinisello Balsamo 1997, pp. 264-267;
A. Orlando, Anton Maria Vassallo, Genoa 1999, p. 44, reproduced p. 47, fig. 65;
A. Orlando in in G. Godi, Fasto e rigore: La Nature Morta nell'Italia settentrionale dal XVI al XVIII secolo, Milan 2000, p. 109, cat. no. 15, reproduced;
A. Cottino, L'Incantesimo dei sensi: Una collezione di nature morte del Seicento per il Museo Accorsi, exhibition catalogue, Turin 2005, pp. 82-83, 111-112, cat. no. 20, reproduced p. 83.

The painting has been relined and surface is stable. Under a dull varnish. Overall the paint surface has been well preserved and there is very nice detail in the fish, fruit and carpet. Retouching on an old repaired L-shaped tear at the center of the copper pot can seen with naked eye. As is typical of paintings of this age, the browns of the background have sunken a bit and lost some definition and there is some thinness in the background around the cat at lower left. This is not too distracting and the still life elements still read very well overall. Under ultraviolet light: can't see through the old varnish. This painting could be hung as is and presents a very striking image. However, it would benefit from a re-addressing of the old, discolored retouching on the copper pot which could be done better. A fresh varnish would also improve the overall appearance. Offered in a black wood frame with carved and gilt outer and inner edges.
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A rare painting by Legi in which no human figure is present, this impressive painting does not completely omit a narrative element: a cat enters the scene at lower left, surveying the bounty of food set on the crowded tables and pawing at the fish.  The tension of the cat brings an otherwise still pantry scene to life, though Legi's remarkable ability to depict the various textures and weights of the seafood, fruit, vegetables, and poultry piled into the intricate composition should not be overlooked.