Analyzing Religious Art Series Part Two: A Deeper Exploration

Analyzing Religious Art Series: A Deeper Exploration

In this series for An Exhibition Of Art History, I am going to be analyzing famous works of religious art. The focus will be religious symbolism, the history of the piece, biblical history and reference and my personal interpretation of the piece. I hope you enjoy this series as it will take on a wide variety of artistic expressions and spiritual avenues. Each article will represent one piece to keep a clean and deep understanding of it’s history and message. My first article explored the famous work of Rembrandt, The Return Of the Prodigal Son.

This article will represent The Calling of Saint Matthew by Caravaggio. The painting follows the Gospel of Matthew (Matthew 9:9): “Jesus saw a man named Matthew at his seat in the custom house, and said to him, “Follow me”, and Matthew rose and followed Him.”

The Calling of Saint Matthew: (Caravaggio) A Church Commission 10 Years in the making

Ten years before the completion of Caravaggio’s Matthew in 1600, Cardinal Matthieu Cointerel (in Italian, Matteo Contarelli) set into motion the exact specifications for the commission in his will(along with the funds). The impending commissions would be placed in The Church of St. Louis of the French, Rome. Cardinal Matthieu Cointerel had a unique vision to create themes related to his namesake, Saint Matthew. 

With frescoes by the late Mannerist artist Giuseppe Cesari, covering the dome of the chapel, the establishment of a knowledgeable and familiar artistic flair was called upon. Cesari, Caravaggio’s former employer, was however was caught up in the royal and papal patronage and was unable to accomplish this commission.

Cardinal Francesco Del Monte, Caravaggio’s patron and also the prefect of the Fabbrica of St Peter’s (the Vatican office for Church property), took it upon himself to obtain Caravaggio for the first major church commission.

The deeply biblical history behind a intriguing cast of characters

The spiritual awakening represented as a beam of light that Caravaggio cast upon the two figures(Jesus Christ and Saint Peter) entering the custom house draws a mirroring effect to the man Jesus is pointing to, whom is represented as Matthew, the tax collector. This beam of light can be used as a way to have our main characters be obviously directed by the eye, and can also be used as a symbolic and religious divination of how we are to view them. Matthew is seated with four other men, whom we do not know their identity.

The Bible verses that inspired the painting are as follows: (MATTHEW 9)

Identity of Matthew: interpretations that create everlasting lessons

The lesson behind Matthew 9 seems to beg the question of how Jesus saw the common man and his faults, as well as the company Jesus often kept. He sought out disreputable characters and people who were outsiders, the lepers of society that many judged and distanced themselves from. The extent of Jesus Christ’s deeply spiritual light can shine upon the dregs of society as a forgiving and hospitable beam, whereas anyone who casts unfair judgment would be given teachings on mercy and forgiveness. I find this lesson to be truly inspired and humanistic, as we are all fallible and want and need forgiveness. Through the ever lasting grace and love of Jesus Christ, one can find atonement and forgiveness for our sins with God.

In the placement of Matthew, there are two interpretations of which man seated actually is Saint Matthew. The bearded man who’s face is visible and has the surprised expression is designated as Saint Matthew by most writers. He is seemingly pointing to himself and his expression carries the declaration of, “Who, me?” when responding to Jesus’ call.

Based upon two other works in the same series(The Inspiration of Saint Matthew, and The Martyrdom of Saint Matthew), this theory of the bearded, surprised man being Saint Matthew is solidified as we see him in the other pieces firmly represented as the famous Saint.

The more modern interpretation is that the slumped over figure with an agonized expression is Saint Matthew and the bearded man is pointing at him and asking, “Him?” in regard to Jesus’ summons.

First and last impressions

Pope Francis, as a young man would visit San Luigi to view and contemplate The Calling of Saint Matthew by Caravaggio. His response to the outstretched arm of Christ and Matthew’s response was, “This is me, a sinner on whom the Lord has turned his gaze.”^[6]

When I have first looked upon Caravaggio’s masterful and deeply human version of the biblical story, I felt it was a divine intervention of Jesus Christ and Saint Peter stepping into a very commonplace scene: a tax collector and his constituents going over everyday business. This contrast of the divine against the backdrop of the common (with coins and money being counted by tax-collectors)creates a hallowed scene, as the bare-footed figures of Jesus Christ and Saint Peter give the floor and the surroundings a haven-like serenity. Their arrival signifies a new spiritual awakening.

I personally find the slumped-over figure with an agonized and forlorn expression to be the best representation of Matthew 9. This man, to me, is truly in need of religious and spiritual advice. The luminous, bearded man pointing over to the dejected figure, asking, “Him?” can only deepen the story. The man shrouded in darkness is hearkened upon by not only Jesus and Saint Matthew, but the people surrounding him, to gather the strength and fortitude necessary to listen to Jesus’ everlasting message of salvation and forgiveness. This represents how truly merciful and loving Jesus is, along with his message.

Overall, I feel Caravaggio created a timeless piece that expresses the biblical history and the impact it has made for the church. This painting truly embodies the echoes of Matthew 9 and the message of grace, forgiveness, atonement and spirituality.