And he arose up and followed him. Avaricious and presumably money-mad, Matthew was to give up his worldly possessions and take to the straight and narrow path when Jesus called him into his service while Matthew was working at the tax collector's stand at the Capernaum. In this painting, Caravaggio depicts the very moment when Matthew first realizes he is being called. Cardinal Matteo Contarelli had saved for years to pay for the decoration of his chapel with scenes from the life of Saint Matthew, his namesake.
Commission[ edit ] Over a decade before, Cardinal Matthieu Cointerel in Italian, Matteo Contarelli had left in his will funds and specific instructions for the decoration of a chapel based on themes related to his namesake, St Matthew.
While the Martyrdom was probably the first to be started, the Calling was, by report, the first to be completed. The commission for these two lateral paintings — the Calling and the Martyrdom — is dated Julyand final payment was made in July Between the two, at the altar, is The Inspiration of Saint Matthew Subject matter[ edit ] The painting depicts the story from the Gospel of Matthew Matthew 9: A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ.
Identity of Matthew[ edit ] There is some debate over which man in the picture is Saint Matthew, as the surprised gesture of the bearded man at the table can be read in two ways.
Most writers on the Calling assume Saint Matthew to be the bearded man, and see him to be pointing at himself, as if to ask "Me?
This theory is strengthened when one takes into consideration the other two works in this series, The Inspiration of Saint Matthew, and The Martyrdom of Saint Matthew.
The bearded man who models as Saint Matthew appears in all three works, with him unequivocally playing the role of Saint Matthew in both the "Inspiration" and the "Martyrdom". A more recent interpretation proposes that the bearded man is in fact pointing at the young man at the end of the table, whose head is slumped.
In this reading, the bearded man is asking "Him? Other writers describe the painting as deliberately ambiguous. In 1 Corinthians Please improve it by verifying the claims made and adding inline citations.
Statements consisting only of original research should be removed. In this painting, the gloom and the canvassed window appears to situate the table indoors. Christ brings the true light to the dark space of the sitting tax-collectors. This painting records the collision of two worlds — the ineluctable power of the immortal faith, and the mundanefoppish, world of Levi.
Jesus spears him with a beam of light, with an apparent effortless hand gesture he exerts an inescapable sublime gravity, with no need for wrenching worldly muscularity.
Similarly to his treatment of Paul in the Conversion on the Way to DamascusCaravaggio chronicles the moment when a daily routine is interrupted by the miraculous.
Around the man to become Matthew are either the unperceptive or unperturbed bystanders. Responses[ edit ] Pope Francis has said that he often went to San Luigi as a young man to contemplate the painting.The Calling of Saint Matthew in the church of San Luigi dei Francesi in Rome was Caravaggio's first public commission.
The painting depicts the biblical story of Jesus asking Matthew, a tax collector, to become one of his disciples. The Calling of Saint Matthew is a masterpiece by Michelangelo Merisi da Caravaggio, depicting the moment at which Jesus Christ inspires Matthew to follow him. It was completed in – for the Contarelli Chapel in the church of the French congregation, San Luigi dei Francesi in Rome, where it remains today.
It hangs alongside two other paintings of Matthew by Caravaggio, The Martyrdom of . The Calling of St. Matthew by Michelangelo Merisi da Caravaggio in Urban Warfare of the Baroque Period as a Function of pre-Nationalist Demarcation from Absolutism in Form as a Function of Style.
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This painting is an oil on canvas piece which defines the vestiges of the Baroque. The Calling of Saint Matthew Oil on canvas, x cm Contarelli Chapel, San Luigi dei Francesi, Rome: This painting is the pendant to the Martyrdom of St Matthew and hanging opposite in the Contarelli Chapel of the San Luigi dei Francesi, the French Church in Rome.
The Calling of Saint Matthew illustrates the passage in the Gospel of Matthew (Matthew ), when Jesus went into the custom house, saw Matthew at his seat and called to him, "Follow me". According to the story Matthew rose and followed him.
Caravaggio represented the event as a nearly silent, dramatic narrative. The sequence of actions before and after this moment can be easily and convincingly re-created. The tax-gatherer Levi (Saint Matthew's name before he became the apostle), seated at a table with his .