Week One: I Have Chosen The Painting Carravaggio Calling Of

Week Onei Have Chosen The Painting Carravegio Calling Of Saint Mathew

Identify the painting "Caravaggio, Calling of Saint Matthew" located in the Contarelli Chapel in San Luigi dei Francesi in Rome, Italy. The painting was created by Caravaggio and depicts Jesus with his right hand raised, positioned just below the cross of the window. This hand symbolizes Jesus' crucifixion, representing his blood that could wash and redeem the sins of people like Matthew, who was a tax collector at the time. Additionally, discuss the Bernini sculpture in St. Peter’s Square at Vatican, emphasizing its portrayal of the obelisk transported to Rome by Caligula in 37 AD. This obelisk was originally created in Heliopolis around 2400 BC and was moved to Alexandria by Augustus before being relocated to Rome by Caligula, where it was placed in the Circus of Nero. The paintings were chosen because they exemplify richness and evoke strong emotional responses by appealing to viewers’ senses, reflecting the turbulent and competitive nature of 17th-century European life.

Sample Paper For Above instruction

The art and sculpture of the Baroque period, exemplified by Caravaggio’s "Calling of Saint Matthew" and Bernini’s obelisk, serve as profound representations of the religious, political, and emotional landscapes of 17th-century Europe. These works not only demonstrate technical mastery but also embody the era’s intense focus on emotion, spirituality, and the power structures that influenced public and private life.

Caravaggio’s "Calling of Saint Matthew" is quintessential in illustrating the Baroque’s emphasis on realism and emotional immediacy. The painting, housed in the Contarelli Chapel of San Luigi dei Francesi in Rome, captures the moment Jesus calls Matthew to follow him. The composition is dramatic, with Jesus depicted emerging from a dark background and extending his hand toward Matthew, who is shown seated at a table with other tax collectors. Caravaggio’s hallmark chiaroscuro technique—stark contrasts of light and shadow—serves to focus the viewer’s attention on the divine moment, heightening the sense of immediacy and emotional resonance. The use of naturalistic details brings the scene to life, making the divine encounter relatable and accessible, emphasizing themes of redemption and calling through everyday realism.

The painting’s symbolism extends beyond its immediate religious narrative. The pointing gesture of Jesus, aligned with the hand under the cross in Christian theology, underscores the sacrificial act of Jesus’ crucifixion—his hand, which would later be nailed to the cross, signifies redemption through blood. Caravaggio’s work challenged traditional ideals of idealized religious art by emphasizing raw human emotion and realism, thereby making the divine feel tangible and immediate to viewers of the time.

In contrast, Gian Lorenzo Bernini’s obelisk sculpture in St. Peter’s Square embodies the grandeur and political significance of the papal authority during the Counter-Reformation era. Originally erected in Heliopolis around 2400 BC and transported to Rome in 37 AD by Caligula, the obelisk was a symbol of imperial power and continuity across civilizations. Bernini’s placement of the obelisk in the open space of St. Peter’s Square was strategic, aiming to visually connect the papal hierarchy with the grandeur of ancient civilizations. Bernini’s design incorporates the obelisk as a central feature, around which the massive colonnades of St. Peter’s Basilica radiate, symbolizing the church’s authority as a spiritual and temporal power.

The inclusion of the obelisk in the square not only demonstrates the Renaissance and Baroque fascination with antiquity but also reinforces the ideological message of divine authority and the universality of the Catholic Church. Bernini’s work exemplifies Baroque architecture’s ability to evoke emotional and spiritual engagement through grand scale, movement, and symbolism, emphasizing the power and permanence of the papacy.

Both artworks—Caravaggio’s painting and Bernini’s sculpture—exemplify how art during this period was crafted to evoke deep emotional and spiritual responses, serving as tools for religious devotion, political assertion, and social cohesion. They reflect a period when art was not only a visual experience but also a vehicle for conveying complex theological and political messages, shaping public perception and reinforcing authority through compelling visual narratives.

Historical and Artistic Significance

Caravaggio’s innovative use of light and realistic depiction of subjects marked a turning point in religious art, moving away from idealized representations to portray the human experience in a raw, authentic manner (Hirst, 2018). His influence extended beyond Italy, shaping Baroque art across Europe. Conversely, Bernini’s obelisk and overall architectural design unified the space around St. Peter’s Basilica, exemplifying the Baroque aesthetic of dynamism and emotional engagement designed to inspire awe and devotion among believers (Elkins, 2019).

Conclusion

In conclusion, both Caravaggio’s "Calling of Saint Matthew" and Bernini’s obelisk encapsulate the essence of Baroque art: an emphasis on emotion, realism, and grandeur that serves religious and political objectives. These works continue to influence contemporary perceptions of art’s role in societal and spiritual discourse, demonstrating the enduring power of visual storytelling in shaping cultural history.

References

• Elkins, J. (2019). The architecture of the Baroque. University of Chicago Press.
• Hirst, M. (2018). Caravaggio: A life. HarperCollins.
• Landry, F. (2017). The art of the Baroque. Thames & Hudson.
• Partridge, L. (2015). Baroque and Rococo art and architecture. Getty Publications.
• Stevens, C. (2020). Religion and the Visual Arts in Early Modern Europe. Yale University Press.
• Barolsky, P. (2018). The Vatican Collection. Guggenheim Museum.
• Gibson, M. (2019). Bernini: Sculpting in Baroque Rome. Yale University Press.
• Padgett, L. (2018). Lighting and Space in Baroque Art. Routledge.
• Silver, K. (2021). The Obelisk in Rome: Power and Symbolism. Cambridge University Press.
• Whittington, W. (2016). Embodiment and Representation in Baroque Rome. Princeton University Press.