Renaissance Blog
In researching the Renaissance, I found out about the style tenebrism. Tenebrism heavily contrasts light and dark in the painting, thus focusing your attention on the figures depicted within. Tenebrism was developed during the late 16th century, with notable artist such as Georges de La Tour and Rembrandt adopting the style in their works of the time. Though they were notable artists, neither Rembrandt nor de La Tour were the ones who created the painting I'll be discussing today, though. The painting I'm referring to is "The Calling of Saint Matthew".
.jpg)
.jpg)
Caravaggio. The Calling of Saint Matthew. 1599-1600. San Luigi dei Francesi, Rome.
This painting elicits a few emotions. Upon viewing it initially, I felt that the man at the left end of the table was being shamed, with the the man on the right judging him for something he'd done. Meanwhile, the other people at the table are surprised by such a choice. You can almost feel the sense of guilt the man on the left is feeling, juxtaposed by the authority the man on the right asserts. It isn't until I'd read more about the context behind the painting that I came to truly understand the scenario, though. In this painting, the man on the left depicts Matthew, and the man on the right depicts Jesus Christ (and Saint Peter next to him). It's in this light that you can come to understand that Matthew is being accepted by Jesus, and has had a profound spiritual awakening. Once I'd read this much, I instead felt that rather than guilt, Matthew is portraying a profound sense of fealty and gratitude towards Jesus for accepting him. While Jesus still holds an air of authority, it instead is through his ability to embrace anyone who stands before him, rather than to judge them for their transgressions.
I've never considered owning a full print of a historical painting, but not for the lack of liking them. I think that they have a time and a place to be appreciated in, and I don't think my home would fit that environment. I think that not only my appreciation for the piece, but the sense of awe I feel when viewing it would be lost to me if I were to keep it in such a mundane place such as my house.
While the painting doesn't have as grand a history as other Renaissance paintings, Pope Francis does talk about it in an interview. In regards to Matthew, he says, "Here, this is me, a sinner on whom the Lord has turned his gaze" (Spadaro). I feel that he can relate to Matthew due to the tones of humanism that this painting reflects- the emotions of surprise and slight shock on the four other men, the calm an knowing look on Jesus' face, and lastly the burden being lifted upon Matthew. There are many emotions expressed by the people captured in the painting, and not through the use of gaudy clothes or aesthetics. Instead, it is simply the contrasting light and the detail to gesticulations and faces which allows you to relate to the painting on such a deep level as Pope Francis does.
I've never considered owning a full print of a historical painting, but not for the lack of liking them. I think that they have a time and a place to be appreciated in, and I don't think my home would fit that environment. I think that not only my appreciation for the piece, but the sense of awe I feel when viewing it would be lost to me if I were to keep it in such a mundane place such as my house.
While the painting doesn't have as grand a history as other Renaissance paintings, Pope Francis does talk about it in an interview. In regards to Matthew, he says, "Here, this is me, a sinner on whom the Lord has turned his gaze" (Spadaro). I feel that he can relate to Matthew due to the tones of humanism that this painting reflects- the emotions of surprise and slight shock on the four other men, the calm an knowing look on Jesus' face, and lastly the burden being lifted upon Matthew. There are many emotions expressed by the people captured in the painting, and not through the use of gaudy clothes or aesthetics. Instead, it is simply the contrasting light and the detail to gesticulations and faces which allows you to relate to the painting on such a deep level as Pope Francis does.
Citations
Antonio Spadaro, S.J., A big heart open to God: The exclusive interview with Pope Francis, America, Published 30 September 2013, accessed 20 February 2024.Caravaggio. The Calling of Saint Matthew. 1599-1600. San Luigi dei Francesi, Rome.
Hi Elliott! I enjoyed reading about, "The Calling of Saint Matthew". Caravaggio's interpretation of Jesus choosing Levi to become a disciple is profound. There is a surprised look on St. Matthew that asks, " Who, me!"? At first, I was wondering which person was Matthew. The man counting money or the one in the spotlight with shock on his face. The hand looks like it is pointing to himself. He could possibly be pointing to the other man. Would we know much about this painting if it wasn't Pope Francis's favorite? How profound that 500 years later popes are still able to relate to the art created during an era of re-awakening.
ReplyDeleteI was intrigued by the interview with Pope Francis. I did a little more searching about the artist. I found this https://youtu.be/t5AWuwoicfY?si=8HFnLtWuHnfRBcwu
DeleteThank you for sharing! The video gives some inside views of where the painting is hanging. You can feel a deeper level of appreciation for the imperfections of humanity and the struggle with the ego. Jesus is showing how to embrace and accept those imperfections and with a little help, together the burden is light.
Great pick!
Hi Elliott, your exploration of Caravaggio's "The Calling of Saint Matthew" is both insightful and vivid. The description of the emotions brought out by the painting, from initial impressions of shame and judgment to a deeper understanding of acceptance and gratitude, beautifully captures the complexity of Caravaggio's composition. I liked your reflection on the sense of fealty and gratitude portrayed by Matthew towards Jesus, highlighting the transformative power of spiritual awakening and acceptance. Your interpretation adds depth to the painting, inviting viewers to consider the layers of meaning embedded within Caravaggio's masterful use of tenebrism.
ReplyDeleteThank you for sharing.
I really love this style. I have never heard of tenebrism before, and love how you were able to describe it. Did you know it comes from the Italian word 'tenebroso' which means darkened and obscuring? I really enjoy the way you picked apart the painting, and got so into detail. I feel like I know everything about this painting now!
ReplyDelete