A moment of spiritual awakening: Caravaggio's Calling of Saint Matthew
Summary
TLDRIn the Contarelli Chapel of San Luigi dei Francesi in Rome, Beth and Steven discuss Caravaggio's paintings, focusing on 'The Calling of Saint Matthew.' The piece captures a pivotal moment of spiritual awakening, with Christ's gesture and light highlighting Matthew's transition from a tax collector to an apostle. Caravaggio's use of naturalism and chiaroscuro brings a sense of realism, making the figures relatable and the scene intimate. The discussion also touches on the artistic contrast between the spiritual and the earthly, and the significance of pointing in the painting.
Takeaways
- π¨ Beth and Steven are discussing Caravaggio's paintings in the Contarelli Chapel of the church of San Luigi dei Francesi in Rome.
- ποΈ The paintings depict scenes from the life of Saint Matthew, focusing on his spiritual awakening and transformation.
- π The first painting, 'The Calling of Saint Matthew,' illustrates the moment Jesus calls Matthew to follow him, as described in the Gospel of Matthew.
- π Caravaggio's use of light and gesture is central to identifying the key figures in the painting, with light streaming in from above Christ's head.
- π€ The composition is intriguing, with Christ partially obscured by Saint Peter and Matthew appearing somewhat lost among his colleagues.
- π Caravaggio dressed the figures in contemporary clothing, grounding the scene in a more earthly and relatable context.
- π° The setting is a tavern, a humble and everyday place, which contrasts with the spiritual significance of the event being depicted.
- π The figures in the painting are depicted with intense naturalism, creating a vivid and realistic sense of presence.
- π The painting invites viewers into the scene, breaking down the barrier between the artwork's world and the viewer's reality.
- π€² The gesture of pointing is significant, with Christ, Peter, and Matthew all using it to varying degrees, symbolizing their roles and the spiritual message.
- π₯ There's a contrast between the figures who are aware of the spiritual event and those who are preoccupied with earthly matters, highlighting the theme of attention and awareness.
Q & A
Where are Beth and Steven discussing the paintings?
-Beth and Steven are discussing the paintings in the church of San Luigi dei Francesi in Rome.
How many paintings by Caravaggio are mentioned in the script?
-There are three paintings by Caravaggio mentioned in the script, all located in the Contarelli Chapel.
What is the subject of the painting on the left?
-The painting on the left depicts the 'Calling of Saint Matthew,' illustrating the moment before Saint Matthew becomes an apostle of Christ.
What is significant about the moment captured in 'The Calling of Saint Matthew'?
-The moment captured is significant as it represents Saint Matthew's spiritual awakening and the beginning of his transition to becoming one of Christ's apostles.
How does Caravaggio represent Christ and Matthew in the painting?
-Caravaggio represents Christ and Matthew as common, earth-bound figures, dressed in contemporary clothing, and placed in an everyday setting like a tavern.
What is the role of light in Caravaggio's painting?
-Light in Caravaggio's painting plays a crucial role, identifying the figures of Christ and Matthew and creating a diagonal movement from Christ to Matthew, symbolizing the call.
What aspect of Caravaggio's work is highlighted by the script?
-The script highlights Caravaggio's intense naturalism and his use of light and shadow to create a vivid and realistic portrayal of the scene.
How does Caravaggio's portrayal of the figures differ from the High Renaissance style?
-Caravaggio's figures are earth-bound and look like common people, in contrast to the High Renaissance style which creates a sense of the divine by making figures ideally beautiful.
What does the gesture of pointing signify in the painting?
-The gesture of pointing signifies the call from Christ to Matthew and the transition from Matthew's earthly occupation to his spiritual calling.
How does the painting create a sense of connection between the viewer and the scene?
-The painting creates a sense of connection by breaking down the separation between the world of the painting and the viewer's world, with figures that are close and seemingly within reach.
What is the significance of the space at the table in the painting?
-The space at the table almost looks like it's waiting for the viewer, inviting them into the scene and further blurring the lines between the painting's world and the viewer's own.
What is the connection between Caravaggio's depiction of Christ's hand and Michelangelo's 'Creation of Adam'?
-Caravaggio's depiction of Christ's hand reaching out to Matthew mimics the gesture of God reaching out to Adam in Michelangelo's 'Creation of Adam,' symbolizing Christ as the second Adam who brings salvation.
Outlines
π¨ 'The Calling of Saint Matthew' by Caravaggio
Beth and Steven discuss Caravaggio's painting 'The Calling of Saint Matthew' in the Contarelli Chapel of the church of San Luigi dei Francesi in Rome. The painting captures the moment of spiritual awakening of Saint Matthew, who is being called by Jesus to become one of his apostles. Caravaggio's use of light and gesture to identify the figures is highlighted, with Christ's hand pointing towards Matthew, who is depicted as a tax collector among his colleagues. The painting is noted for its naturalism and the contrast between the spiritual and the earthly, as the other figures in the scene are preoccupied with counting money, showing a lack of awareness of the divine encounter. The composition and the use of contemporary clothing add to the painting's earth-bound quality, making it relatable and immediate. The discussion also touches on the concept of Christ as the 'second Adam,' bringing salvation in contrast to Adam's original sin.
Mindmap
Keywords
π‘Caravaggio
π‘Contarelli Chapel
π‘Spiritual Awakening
π‘Baroque Art
π‘Chiaroscuro
π‘Naturalism
π‘Tax Collector
π‘Apostle
π‘Gospel of Matthew
π‘Contemporary Clothing
π‘Michelangelo
Highlights
The discussion takes place in the Contarelli Chapel of the church of San Luigi dei Francesi in Rome, focusing on Caravaggio's paintings.
There are three paintings by Caravaggio, each depicting a key moment in the life of Saint Matthew.
The first painting represents the Calling of Saint Matthew, illustrating his spiritual awakening.
Caravaggio captures the moment of conversion, a theme of interest to Baroque artists.
The gospel of Matthew passage is depicted, showing Jesus calling Matthew to follow him.
Caravaggio's work is distinctly earth-bound, with only a subtle hint of the spiritual in the halo above Christ's head.
The composition is unique, with Christ and Matthew somewhat obscured among other figures.
Both Christ and Matthew are identified by light and gesture, with a diagonal light source highlighting their interaction.
Matthew's portrayal is of a man in transition, caught between his past as a tax collector and his potential future as an apostle.
Caravaggio dresses the figures in contemporary clothing, grounding the scene in reality rather than idealized spirituality.
The setting is a tavern, a humble and earthly place, contrasting with the divine themes.
The figures are depicted with intense naturalism, creating a sense of weight and mass.
The painting breaks down the barrier between the world of the painting and the viewer's world.
Christ's gesture towards Matthew mimics God's reach to Adam in Michelangelo's Creation of Adam, symbolizing Christ as the second Adam.
The pointing gesture is a recurring motif, with Christ, Peter, and Matthew all pointing in different ways.
There is a contrast between the figures who are aware of the spiritual moment and those focused on earthly matters.
The painting invites viewers to consider their own spiritual awakening and transformation.
The discussion concludes by noting the importance of this painting as one of three in the chapel, all dedicated to Saint Matthew.
Transcripts
(jazzy piano music)
- [Beth] We're in the church
of San Luigi dei Francesi here in Rome,
and we're looking at the paintings by Caravaggio
in the Contarelli Chapel.
- [Steven] There are three paintings.
The painting on the left shows the Calling of Saint Matthew.
Saint Matthew would become one of the apostles of Christ,
but this is the moment just before,
the moment of transition that is his spiritual awakening.
- [Beth] And this idea of capturing the moment
of spiritual awakening, a moment of conversion,
was something that interested
Baroque artists like Caravaggio.
Here's the passage from the gospel of Matthew
that Caravaggio has painted.
As Jesus went on from there, he saw a man named Matthew
sitting at the tax collector's booth.
"Follow me," he told him,
and Matthew got up and followed him.
Such a simple passage, but so profound.
- [Steven] Caravaggio has given us something
that is distinctly earth-bound,
that emits only the barest hint of the spiritual
in the hairline halo above Christ's head.
- [Beth] And It's a very interesting composition
because Christ, the main figure here and Matthew too,
are both a little bit lost.
Christ stands behind Saint Peter,
and his body is covered by Saint Peter
except for his head and his right arm,
which reaches out to point to Matthew.
And then Matthew is a little bit lost
among this group of five colleagues.
Matthew is a tax collector
and they're here looking at the money
that they have collected.
- [Steven] Both figures are identified by light,
and by gesture.
The light streams in from an unseen source
just above Christ's head,
and moves from the upper right at a diagonal
down to Matthew.
Christ almost languidly extends his hand,
but Matthew responds by pointing to himself with vigor
as if he's saying you've got the wrong guy,
why would you call me?
- [Beth] I'm a tax collector,
here I am counting my money, I'm in a tavern.
Caravaggio dressed the figures in contemporary clothing.
There's very little about this
that looks like a spiritual moment.
The art of the High Renaissance
creates a sense of the divine
by making figures ideally beautiful.
But Caravaggio's figures are as you said, earth-bound,
they look like common people that Caravaggio might have seen
on the streets of Rome.
- [Steven] This is set in a tavern, in a bar,
in a lowly place.
- [Beth] What's wonderful to me
is the way that Matthew is in transition.
He's pointing to himself as though saying,
It's me that you want? - How could that be?
- [Beth] In total disbelief.
But his right hand is still reaching out
to the money that he has collected.
So he's divided in that way,
and there's a sense of a real, caught moment.
The figure on the upper left is examining the coins,
the figure close to us on the left
is counting them with his right hand,
the figure on the right corner of the table leans
and looks out at something
outside the space of the painting,
the figure right next to Matthew
has his arm on his shoulder,
and yet, this profound moment of spiritual transformation.
- [Steven] The characteristic that Caravaggio
is most known for is his intense naturalism,
and he creates the sharp contrast between light and shadow,
creating a vividness and a sense that the bodies
have weight and mass that is astonishingly naturalistic.
- [Beth] These figures are so close to us
we feel as though we could reach out to touch them,
in fact there's a space at the table
that almost looks like it's waiting for us.
This is a painting, like so much of Baroque art,
that breaks down the distance, the separation
between the world of the painting and our own world.
- [Steven] Look at the way that Christ
reaches forward to Matthew,
it is mimicking the way
that God reaches out to Adam in the Creation of Adam,
by Michelangelo on the Sistine Chapel ceiling,
but the hand is actually derived from Adam's hand,
and this is based on the idea
that Christ is the second Adam.
- [Beth] That Christ brings us salvation
where Adam caused the fall into sin.
But I'm really interested in this pointing, because
we have Christ pointing, - We have Peter pointing.
- [Beth] Only slightly more assertively
than Christ does,
and in a way Peter does stand between Christ and man,
he is the founder of the church.
And then this more forceful pointing that Matthew does.
- [Steven] And then It's also the issue of attention,
Matthew is looking at Christ and Peter,
but the figures at the left side
don't even seem to notice those spiritual figures,
they're focus is on the earthly.
So there is this wonderful contrast
between those that are aware of the spiritual,
and those that are not.
There's so much we could talk about in this painting,
but it's important to remember
that this is just one of three
in this tiny, little chapel.
- [Beth] All dedicated to Saint Matthew.
(jazzy piano music)
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