http://www.telegraph.co.uk/art/artists/charles-saatchis-great-masterpieces-sinner-caravaggio-broughtsaint/
As his fortunes changed, his work caught the eye of Cardinal Francesco del Monte, a highly influential bishop within the Vatican, who quickly took Caravaggio under his wing. He was even able to secure permanent accommodation and a stipend in the cardinal’s home.
Caravaggio's trio of paintings at the Contarelli Chapel. From left: The Calling of Saint Matthew, The Inspiration of Saint Matthew, The Martyrdom of Saint Matthew
The Calling of St. Matthew, c.1598-1601
Detail of The Calling of St. Matthew by Caravaggio
Orphaned at 11, Caravaggio joined a group of artists who lived by the motto nec spe, nec metu – without hope, without fear. By the time he was 13, he knew he wanted to devote his life to painting.
Starting as an apprentice in Milan, he later decided his career could flourish more quickly in Rome. These were hard years for Caravaggio, jumping from one job to the next to support himself – until finally he was taken on by an art dealer, and was able to sell some of his paintings.As his fortunes changed, his work caught the eye of Cardinal Francesco del Monte, a highly influential bishop within the Vatican, who quickly took Caravaggio under his wing. He was even able to secure permanent accommodation and a stipend in the cardinal’s home.
Caravaggio was known to work quickly and efficiently – he would often start and complete a picture in just two weeks. However, his paintings were often considered offensive, and were rejected by some of his clients, which hurt and angered him.
Fortunately, Caravaggio received a commission that would finally establish his status as a respected painter among the more important patrons. He was trusted with the task of decorating the Contarelli Chapel within the church of San Luigi dei Francesi in Rome. The assignment consisted of producing three large paintings of scenes from Saint Matthew’s life. The first of the trio to be completed, The Calling of Saint Matthew, depicts the story of Jesus and Peter seeing Matthew for the first time and asking him to join them.
Fortunately, Caravaggio received a commission that would finally establish his status as a respected painter among the more important patrons. He was trusted with the task of decorating the Contarelli Chapel within the church of San Luigi dei Francesi in Rome. The assignment consisted of producing three large paintings of scenes from Saint Matthew’s life. The first of the trio to be completed, The Calling of Saint Matthew, depicts the story of Jesus and Peter seeing Matthew for the first time and asking him to join them.
Caravaggio's trio of paintings at the Contarelli Chapel. From left: The Calling of Saint Matthew, The Inspiration of Saint Matthew, The Martyrdom of Saint Matthew
The tax collector Levi – Saint Matthew’s name before becoming an apostle – is seated at a table with four others counting the day’s proceeds. When Christ and Saint Peter interrupt their work unexpectedly, Christ’s gesture for Matthew to follow him is so powerful that it momentarily suspends any reaction – and it is this moment that Caravaggio captures.
Not everything was inspired by classical tradition. Rather than dressing the figures in appropriate clothes for a biblical scene, Caravaggio used contemporary fashions, as he felt that this would communicate more fully with the viewer.
The room pictured is small and dark, allowing emphasis on both Jesus’ and Levi’s faces. Levi, realising he is being selected, points to his chest as if asking the question: “Is it me you are calling?” In this way, Caravaggio is suggesting that Levi has now become Matthew, he has been chosen, and to emphasise this auspicious moment, Saint Peter casts no shadow in the painting – the extra source of light is intended as miraculous.
The room pictured is small and dark, allowing emphasis on both Jesus’ and Levi’s faces. Levi, realising he is being selected, points to his chest as if asking the question: “Is it me you are calling?” In this way, Caravaggio is suggesting that Levi has now become Matthew, he has been chosen, and to emphasise this auspicious moment, Saint Peter casts no shadow in the painting – the extra source of light is intended as miraculous.
The three paintings were completed by 1601, and were painted so realistically that they provoked widespread amazement. The success of the commission soon accounted for Caravaggio’s new artistic direction – he would be able to incorporate his own unsettling interpretations into traditional religious scenes. His figures would mostly be composed of Rome’s lower class, including prostitutes, beggars and thieves.
The three works, Saint Matthew and the Angel, The Martyrdom of Saint Matthew and The Calling of Saint Matthew have been displayed in the same church of San Luigi dei Francesi for more than 400 years. Recently, Pope Francis said: “If you have time, go see the picture that Caravaggio painted of this scene,” explaining that, for him, the painting dealt with being given a second chance.
The three works, Saint Matthew and the Angel, The Martyrdom of Saint Matthew and The Calling of Saint Matthew have been displayed in the same church of San Luigi dei Francesi for more than 400 years. Recently, Pope Francis said: “If you have time, go see the picture that Caravaggio painted of this scene,” explaining that, for him, the painting dealt with being given a second chance.
The Calling of St. Matthew, c.1598-1601
Many consider it ironic that Caravaggio was fascinated with painting saints, when he was so far from one himself. Renowned for his troubled personality, he was notorious for getting drunk and finding himself in brawls. Considered “quick to take offence and easily provoked”, with his drastic mood swings, his wild gambling and prolific drinking, he was soon labelled the “Antichrist of painting”.
Unsurprisingly, he found himself in trouble with law officials following a violent quarrel with another painter. A witness explained: “After a fortnight’s work he will swagger about for a month or two with a sword at his side and a servant following him, from one tavern to the next, ever ready to engage in a fight or an argument.”
Caravaggio’s assaults climaxed in 1606 when he murdered a notable Roman playboy, Ranuccio Tomassoni. It is still uncertain why the murder occurred; speculation includes an argument over a tennis match, or that it was over an unpaid debt. Caravaggio had chosen the wrong enemy, and was quickly sentenced to death.
Cardinal del Monte once again helped Caravaggio, enabling the artist to escape Rome. He sought refuge by travelling first to Malta, then to Sicily and Naples. During his brief time in Malta, his fame as an artist gained him the award of the Order of Malta as a Knight of Justice – revoked as soon as the Order learnt of his crime.
Being a fugitive did not curtail Caravaggio’s aggressive behaviour. One particularly boozy night he attacked Roero, one of the senior knights of the Order of St John in Malta. Caravaggio was arrested and jailed, but managed to escape a month later. Seeking revenge, Roero followed Caravaggio and slashed him with a knife, disfiguring him horribly. The damage affected Caravaggio not only physically but mentally. His vision and his brushwork were badly affected.
Caravaggio’s assaults climaxed in 1606 when he murdered a notable Roman playboy, Ranuccio Tomassoni. It is still uncertain why the murder occurred; speculation includes an argument over a tennis match, or that it was over an unpaid debt. Caravaggio had chosen the wrong enemy, and was quickly sentenced to death.
Cardinal del Monte once again helped Caravaggio, enabling the artist to escape Rome. He sought refuge by travelling first to Malta, then to Sicily and Naples. During his brief time in Malta, his fame as an artist gained him the award of the Order of Malta as a Knight of Justice – revoked as soon as the Order learnt of his crime.
Being a fugitive did not curtail Caravaggio’s aggressive behaviour. One particularly boozy night he attacked Roero, one of the senior knights of the Order of St John in Malta. Caravaggio was arrested and jailed, but managed to escape a month later. Seeking revenge, Roero followed Caravaggio and slashed him with a knife, disfiguring him horribly. The damage affected Caravaggio not only physically but mentally. His vision and his brushwork were badly affected.
Although Caravaggio remained in Naples for the next four years, and continued to paint, he lived in constant anxiety, in such fear for his life that he slept with his clothes on, and with a dagger by his side.
In 1610, he was permitted to return to Rome after being pardoned by the Pope, following a great deal of persuasion from Caravaggio’s admirers. Sailing from Naples, he arrived at Porto Ercole, where he fell violently ill and died a few days later, on the beach.
In 2010, a team of scientists studied his remains and discovered that his bones contained high levels of lead. They concluded that either accidentally via his paints, or as a victim of deliberate poisoning over a period of time, the levels of lead were likely to have made him mentally unstable.
But the many insanities of Caravaggio’s life cannot diminish in any way his overwhelming genius with a paintbrush.
In 1610, he was permitted to return to Rome after being pardoned by the Pope, following a great deal of persuasion from Caravaggio’s admirers. Sailing from Naples, he arrived at Porto Ercole, where he fell violently ill and died a few days later, on the beach.
In 2010, a team of scientists studied his remains and discovered that his bones contained high levels of lead. They concluded that either accidentally via his paints, or as a victim of deliberate poisoning over a period of time, the levels of lead were likely to have made him mentally unstable.
But the many insanities of Caravaggio’s life cannot diminish in any way his overwhelming genius with a paintbrush.
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