TY - JOUR
T1 - Expressive Aspects of Caravaggio’s First Inspiration of Saint Matthew
AU - Thomas, Troy
N1 - Funding Information:
I should like to thank the following people for their help in the preparation of this article: Liana Cheney, Shirley Hibbard, Chris Hildebrandt, Donna Horley, Loretta Reigle, Linda Ross, David Sices, Richard Spear, Jean Thomas. The late Howard Hibbard was of great assistance. I am indebted to the Research Council of The Pennsylvania State University, Capitol Campus, for two travel grants, and to the National Endowment for the Humanities for the award of a place in Howard Hibbard's 1981 Summer Seminar for College Teachers, "From Michelangelo to Bernini." I read a version of this paper at a symposium, "Baroque Art in Italy," April 13 and 14, 1984, at the University of Wisconsin-Milwaukee, organized by Barry Wind.
PY - 1985/12/1
Y1 - 1985/12/1
N2 - A new interpretation is offered here to account for Matthew’s illiterate and lowly appearance in Caravaggio’s first Inspiration of Saint Matthew. The saint’s expression of surprise as he looks at the first lines of his gospel shows that Caravaggio depicted him in a moment of sudden understanding. Divine revelation ends his earthly ignorance. In this article, Caraoaggio’s treatment of Matthew is related to historical accounts of the saint’s life. The Apostle prepares himself for and finds insight into the divine through ignorance, humility, and simplicity, qualities that had been given the imprimatur of post-Tridentine religious reformers. Caraoaggio’s approach to the subject remains personal and unique as an indecorous, ironic depiction. Recognition of the Apostle’s astonishment as a sign of divine illumination is essential if his ignorant appearance is to be understood.
AB - A new interpretation is offered here to account for Matthew’s illiterate and lowly appearance in Caravaggio’s first Inspiration of Saint Matthew. The saint’s expression of surprise as he looks at the first lines of his gospel shows that Caravaggio depicted him in a moment of sudden understanding. Divine revelation ends his earthly ignorance. In this article, Caraoaggio’s treatment of Matthew is related to historical accounts of the saint’s life. The Apostle prepares himself for and finds insight into the divine through ignorance, humility, and simplicity, qualities that had been given the imprimatur of post-Tridentine religious reformers. Caraoaggio’s approach to the subject remains personal and unique as an indecorous, ironic depiction. Recognition of the Apostle’s astonishment as a sign of divine illumination is essential if his ignorant appearance is to be understood.
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U2 - 10.1080/00043079.1985.10788296
DO - 10.1080/00043079.1985.10788296
M3 - Article
AN - SCOPUS:84952255321
SN - 0004-3079
VL - 67
SP - 636
EP - 652
JO - The Art Bulletin
JF - The Art Bulletin
IS - 4
ER -