The Calling of St. Matthew

Hello!

Today, I want to write about one of my favorite paintings.

The Calling of St. Matthew was created circa 1599-1600. It is a 11’1 " x 11’5” (3.4 x 3.5 m) oil on canvas painting. Today, it is at the Contarelli Chapel, San Luigi dei Francesi located in Rome, Italy.

Michelangelo Merisi da Caravaggio was born in 1571. At the age of 12, he began

his tutelage under Milanese painter, Simone Peterzano. He later moved to Rome where he studied under several other artists and was exposed to a wealth of Italian artwork.

Caravaggio is considered the father of the Italian Baroque, breaking away from the idealization of the Renaissance and the distortion of Mannerism. The Baroque style would be defined by naturalism, dramatic lighting, and an overall sense of grandeur. He rendered his subjects with immense realism in an attempt to fully immerse the viewer into the world of the painting. He was known to only work off of live models and paint directly on his canvas. Caravaggio's work was an instant sensation throughout all of Europe.

Cardinal del Monte commissioned Caravaggio to paint three large canvases in the Contarelli Chapel depicting the story of St. Matthew. The Calling of St. Matthew is the first piece of the series. It depicts the moment Jesus Christ calls upon Matthew to be his follower. Christ and Peter are seen on the right, pointing towards Matthew, who is at a table counting tax collections with four others. All of the characters look as though they are in movement, as if they have been caught in the moment.

The composition has a precise clarity. There is a dramatic beam of light illuminating the dark, mostly obscured scene. This is a technique called tenebrism, which is used to heighten the emotion of a painting. The light also functions as a leading line, directing the viewer’s eyes towards Matthew. Both Chirst and the light source are coming in from the right, indicating that the two are linked, that Matthew has "found the light."

Though the painting has a very limited, and predominantly muted palette, Caravaggio utilizes a deep and alluring red to accent the piece. The figures are all in contemporary 16th-century clothing, increasing the proximity to the viewer. While the tax collectors are dressed more lavishly, Christ and Peter are barefoot and wear simple drapery, a more familiar religious iconography that conveys timelessness and humble living.

While in Rome, Caravaggio came across Michelangelo’s frescoes in the Sistine Chapel. The hand of Christ is undoubtedly modeled after Adam's hand in The Creation of Adam.

My favorite detail is that the only supernatural element of the painting is a barely perceptible, golden halo above Christ's head.

Hope you enjoyed!

– sputnik sweetheart ⋆˙⟡♡

[All images via Pinterest]