Jan van Hemessen (c. 1500-c. 1575) – Saint Matthew Called to Join the Apostles (Calling of Matthew) Kunsthistorisches Museum

The composition presents a scene of sudden interruption and transformative encounter. A group of men is engaged in what appears to be financial activity – counting coins and recording figures on a ledger – when a figure enters, dramatically altering the course of their actions. The central male figure, identifiable as Matthew, recoils from the gesture extended towards him, his expression a mixture of surprise and disbelief. He seems frozen mid-action, his hand hovering over the coins.
The man who initiates this disruption is positioned to the right; he possesses an air of authority and divine grace, emphasized by his flowing hair and beard, and the raised arm that directs attention towards Matthew. His gaze is intense, conveying a sense of purpose and conviction. A woman stands beside him, her face etched with concern or perhaps apprehension at the unfolding event.
The group surrounding Matthew displays varied reactions. One man, closest to Matthew, appears startled, his hand outstretched as if attempting to restrain his companion. Another leans forward, observing the scene with a mixture of curiosity and anxiety. An older woman, draped in white fabric, looks on with an expression that suggests both worry and resignation.
The setting is complex. A classical architectural structure forms the backdrop, suggesting a space of importance or public life. Through the arches are visible figures, seemingly engaged in their own activities, creating a sense of depth and expanding the narrative beyond the immediate group. The light source appears to originate from the left, illuminating Matthew’s face and highlighting the dramatic contrast between his startled expression and the calm demeanor of the figure who calls him.
Subtleties within the painting suggest deeper meanings. The coins represent worldly possessions and material pursuits, which are abruptly contrasted with the spiritual calling being offered. Matthews initial reluctance to accept this call hints at the difficulty of abandoning a familiar life for an uncertain path. The presence of the woman introduces a layer of complexity; her role remains ambiguous – is she a witness, a participant, or perhaps a symbol of domesticity and the life Matthew is being asked to leave behind?
The artist’s meticulous attention to detail – the rendering of fabrics, facial expressions, and architectural elements – contributes to the paintings overall sense of realism and emotional depth. The work seems to explore themes of divine intervention, personal transformation, and the conflict between earthly desires and spiritual vocation.