Calling of Saint Matthew Michelangelo Merisi da Caravaggio (1571-1610)
Michelangelo Merisi da Caravaggio – Calling of Saint Matthew
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Painter: Michelangelo Merisi da Caravaggio
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Mathieu Contrel (a building contractor) left a will. According to it, the chapel in the church was to be decorated with frescoes. He chose a specific theme and the quantity required. The contract was signed with the then famous painter Cesari d’Arpino. He was once Caravaggio’s rival. But because he was simply overwhelmed with all sorts of orders, in 1599 he was only able to design the vault. There were serious fears that the painting would not be finished in time. The agreement with Arpino was broken.
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Description of Michelangelo Merisi da Caravaggio’s The Calling of the Apostle Matthew
Mathieu Contrel (a building contractor) left a will. According to it, the chapel in the church was to be decorated with frescoes. He chose a specific theme and the quantity required. The contract was signed with the then famous painter Cesari d’Arpino. He was once Caravaggio’s rival. But because he was simply overwhelmed with all sorts of orders, in 1599 he was only able to design the vault. There were serious fears that the painting would not be finished in time.
The agreement with Arpino was broken. They decided to entrust Caravaggio with this demanding task. Prior to that he had dealt only with private commissions. This work was his first test of his pen for a wider audience. The painter decided to completely abandon the traditional frescoes. He preferred large canvases.
"The Calling of the Apostle Matthew" is the first painting. This work of the artist is by right the best creation, created on a fairly rare subject.
Matthew saw Jesus himself and decided to call him to serve as an apostle. Caravaggio’s interpretation is different. He depicts the story as one of the scenes of ordinary life at the time. We see a dark room. The men are sitting and counting the proceeds. The young men turn around and look intently at the entrants. Matvey is dressed poorly. No one understands who he is but Levi.
The darkness is broken through by a flood of light where Jesus is with the apostle Peter. It is a symbol of faith that has suddenly burst into the world. Our gaze is strictly organized by the way it is directed. We involuntarily read the entire scene exactly, starting from the left. We can only see the hand and head of Jesus. He only came in here for a moment, as his feet are turned toward the exit. The same gesture, the outstretched arm, is repeated three times here. Many researchers believe that this is no coincidence.
We understand the language of the artist. That’s why his paintings were and still are so popular.
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The composition presents a scene unfolding within what appears to be a dimly lit tavern or counting house. A group of men is gathered around a table strewn with coins and documents, engaged in activities suggesting financial dealings. The atmosphere is one of casual industry, yet it’s abruptly disrupted by an intrusion from the right side of the canvas.
A figure, clad in dark robes and radiating an intense light, enters the space. He points directly at one of the men seated at the table, a young man who seems startled by the gesture. The beam of light emanating from the robed figure cuts through the gloom, illuminating him and highlighting his reaction – a mixture of surprise and questioning apprehension. This sudden illumination creates a stark contrast with the surrounding darkness, emphasizing the significance of the moment.
The men at the table display varied responses to this intrusion. Some appear oblivious, continuing their work as if nothing unusual is happening. Others show curiosity or mild annoyance. The older man closest to the robed figure seems to be actively participating in the interaction, his finger pointing towards the young man who has been singled out. This gesture suggests a recognition of something significant occurring.
The artist’s use of tenebrism – the dramatic contrast between light and dark – is central to the paintings impact. The deep shadows obscure details and create an atmosphere of mystery, while the concentrated light draws attention to key figures and actions. The window in the background, framed by architectural elements, provides a source of diffused light that contrasts with the focused beam entering from the right. This interplay of light sources contributes to the overall sense of drama and spiritual significance.
Subtleties within the details add layers of meaning. The clothing worn by the figures suggests a range of social classes, indicating a broad representation of humanity. The presence of weapons on the table hints at potential danger or conflict, while the coins symbolize worldly possessions and material wealth. The young man’s attire – a fashionable doublet and cap – suggests he is part of this world of commerce and pleasure, making his selection all the more poignant.
The painting seems to explore themes of divine intervention, choice, and transformation. It suggests that even within a mundane setting, a moment of grace can occur, disrupting ordinary life and offering an unexpected path. The gesture of pointing – repeated by both the robed figure and the older man – implies a sense of destiny or predestination, suggesting that this young mans fate is being determined in this very instant.