The Calling of the Apostle Matthew

According to the will of a wealthy construction contractor Mathieu Conterel (Matteo Cantarelli), the chapel in honor of the Evangelist Matthew in the church of the French community of San Luigi dei Francesi was to be painted in frescoes. The subject of the murals and their number were strictly agreed upon by the testator. In 1593, a contract for these works was signed with the famous Roman artist Cesal d'Arpino ( Cavalier d'Arpino ), the former owner of Caravaggio and his rival. However, the very popular d'Arpino, littered with orders, by 1599 completed only the painting of the dome of the chapel. Because of fears that the church will never be completed by the anniversary year , and given the discontent of the French ambassador Philippe de Bétune, the manager of the Contarelli Foundation, Virgilio Crescenzi, broke off the agreement with d'Arpino and turned to Caravaggio. This was the artist’s first work, intended not for private customers, but for the general public. Caravaggio abandoned fresco painting and completed the order on large canvases. The first painting, “The Calling of the Apostle Matthew”, was delivered to the church on the eve of Christmas from the Navicella Palace, where the artist’s workshop was located. Caravaggio's work is considered to be one of the most significant paintings on the gospel story about Matthew's calling, which is rarely found in fine art.

According to the Gospel , Jesus saw the publican Levi (Matthew) at the gates of Capernaum and called him to the apostolic ministry - Matt. 9: 9 :

... Jesus saw a man sitting at the collection of duties, by the name of Matthew, and said to him: Follow Me. And he stood up and followed Him.

Caravaggio interpreted the plot as a scene from modern life. In the shade at the table is counting the daily earnings of the tax collector Levi, in which he helps the old man in glasses. The guards, armed young people dressed in the latest fashion turned their heads towards the new arrivals. The publican's clothes testify to his condition. Of all those present, only Levi understood who was standing in front of him. In amazement, he questioningly points to himself, awaiting confirmation.

A stream of light falling from the side where Jesus and the apostle Peter stand, breaks through the darkness. It symbolizes the light of faith, bursting into the vain, conceited world of Levi. His direction also organizes the viewer's eye, forcing him to read the scene from left to right. The figure of Jesus is almost completely covered by Peter - only the head and hand are brightly highlighted against a dark background. Jesus appeared only for a moment - his bare feet turned towards the exit. Caravaggio repeats the gesture of an outstretched hand three times, the researchers see in it a resemblance to the motif from the Creation of Adam by Michelangelo in the Sistine Chapel .

Unlike the works of the mannerists, the graphic language of Caravaggio was clear to the unprepared spectator, and this was what created his paintings very much.

• Bernardo Strozzi . 1620. Worcester (Massachusetts). Art Museum.
• Hendrick Terbruggen . 1621. Utrecht , Central Museum.
• Guido Cognacchi . Around 1635-1645. Rimini , City Museum.
• Juan de Pareja . 1661. Madrid , Prado .

• Zuffy S. Episodes and Gospel Characters in Fine Art. - M .: Omega, 2007 .-- ISBN 978-5-465-01501-1 .
• Makhov A. Caravaggio. - M .: Young Guard, 2009. - (The life of wonderful people). - ISBN 978-5-235-03196-8 .
• John Gash Caravaggio. - 2003. - ISBN 1-904449-22-0 .
• Helen Langdon. Caravaggio: A Life. - 1998. - ISBN 0-374-11894-9 .