Calling of Saint Matthew
Caravaggio. c. 1597-1601 C.E Rome, Italy. Oil on canvas
Caravaggio depicts the very moment when Matthew first realizes he is being called. This was Caravaggio's first important job and the completed work would win him the highest of praise as well as the harshest of criticism for its shockingly innovative style.
Form:
- Painted by Caravaggio
- c. 1599-1600
- Oil on canvas
- located in the Contarelli chapel, San Luigi dei Francesci, Rome
Content:
- Biblical story of the calling of Saint Matthew
- Matthew, a tax collector is sitting at a table counting money, generally being shady
- Jesus walks in from the right with Saint Peter by his side
- Jesus points to Matthew with his hand extended, says, "You. I want you"
- Jesus singles Matthew out and calls on him to join him and his disciples
- Matthew points to himself in a gesture of incredulity
- This scene takes place in what appears to be a tavern or pub
- setting makes the event commonplace, relatable
- Characters are all dressed in contemporary clothing, setting this event in Caravaggio's time, rather than biblical times
- this serves to make Matthew's experience (sinner turned follower) into something that is relatable to and possible for the everyday citizen of Rome
- closer to Caravaggio's own experiences
- VERNACULAR
- LIGHT
- plays an active role in furthering the action/plot, rather than merely creating a general, ethereal glow as in the high renaissance
- realistic
- looks like it is streaming in from the open doorway behind Jesus and Peter
- there is a clear light SOURCE
- stream of sunlight comes in diagonally from top right corner, follow's Christ's finger pointing toward Matthew
- highlights Matthew's face
- almost seems an extension of Jesus's pointed finger
- The second Adam?
- The formation of Jesus's outstretched hand mimics Michelangelo's hand of God in "The Creation of Adam" (Sistine Chapel ceiling)
- Jesus is sometimes referred to as "the second Adam" because he, also created by God, is the redeemer of Adam's original sin
- The artistic parallel between the work of Michelangelo and that of Caravaggio highlights Christ's status as "the redeemer"
- creates a full-circle/bookend effect
Function:
- Didactic element
- to portray the story of The Calling of Saint Matthew
- taught from the Catholic perspective (recognizing Saints)
- so as to convince believers of the Catholic doctrines, to inspire support of the Counter-Reformation/Catholic Reformation
- To bring viewer into the experience of the painting
- Caravaggio does this by use of:
- commonplace setting
- contemporary clothing
- realism, naturalism
- rather than idealism of high renaissance
- emotive, expressive theatrics
- This also makes the "Catholic way" more accessible to people of all levels of education, of experience, of lifestyles
Context:
- The Counter-Reformation
- The Catholic Church reacted against the Protestant Reformation begun by Martin Luther (1517)
- after a period of austerity and withdrawal from lavish art, Catholic church experienced a revival in Rome
- Change of tactics:
- draw believers into the Catholic faith by enthralling drama, theatrics, and shocking beauty in artwork, architecture
- want to make people feel an overpowering emotional response to Catholic-inspired art
- differentiating their approach to Christianity from that of the Protestants
- the Baroque style
- frozen action (like movie stills)
- theatrical
- high contrast chiaroscuro
- diagonal lines
- gruff, gritty realism
- rather than idealized, perfect realism of high renaissance
