The Calling Of St. Matthew Essay

As the viewer’s gaze lingers on this central image, his/her eyes reluctantly and painfully follow the path of the crimson red blood that spurts out of Christ’s body and so naturally trickles down his arms into a pool at the base of the cross. The red bole that seeps through the cracked gold background seems to intensify this action. The pale grayish hue of Christ’s tortured skin morbidly conveys his lifelessness.

Times of religious upheaval and need for urbanization following the Renaissance gave rise to the production of lavish artworks during the Baroque era in Italy. Characterized by intense emotion and dynamism, Baroque art reflected the power of Roman antiquity but typified the renewed piety of Roman Catholics. The opulent urbanization projects patronized by the church culminated in the verisimilitude of Baroque paintings. One painting that reflects such change is Saint John the Baptist Preaching by Mattia Preti, also known as Il Calabrese. Preti was born in 1613 in Taverna, Calabria to a modest family with ecclesiastical connections. Preti was well traveled around Italy and was exposed to artworks from the likes of Correggio, Mantegna, and

“From prostitute to sibyl to mystic to celibate nun to passive helpmeet to feminist icon to the matriarch of divinity’s secret dynasty.” (James Carroll “Who is Mary Magdalene”) What we know for sure is that Mary Magdalene was a former sinner that became a leading figure in Jesus’ followers. She stayed by Jesus’ side, to the end, she visited him at his tomb, and was the first person that Jesus “appeared after his resurrection and the first to preach the “Good News” of that miracle.” During the time period of this painting Mary Magdalene, a sinner and prostitute, illustrated “the very essence of spiritual conversion.” (Ebert-Schifferer 63) It’s no stretch to say that the painting is meant to show the moment at which Mary changes her ways, and becomes “married to the word of god”. The conversion of Mary was a new concept to Rome, The book “Caravaggio: The Artist and His Work” claims that this painting is the first to depict it.

     Who is this man Jesus? Where was he from? What did he do for others and us? A great source of reference to answer this question would be someone who had direct contact with him in everyday life. Someone who saw the daily wonders he created would be the best source for information. Matthew, the apostle, is believed to have written the gospel of Matthew. He was able to experience firsthand all of the amazing miracles that Jesus performed. God inspired his words, and his gospel relates to the other three gospels in overall context. They were written in different formats and styles, but the overall message and story remains constant throughout all four gospels. This creates a strong

Craig Blomberg, New Testament Scholar and Professor at Denver Seminary, provides an insightful commentary on the Gospel of Matthew. Blomberg investigates the text using a historical, literary, and theology analysis. The commentary begins with an introduction analyzing the following 7 topics regarding the entirety of the Matthean Gospel: (1) structure, (2) theology, (3) purpose and audience, (4) sources, (5) date, (6) author, (7) and historicity and genre. Blomberg, then, throughout the rest of the commentary, provides a verse by verse discourse on the text by breaking it down into 3 main sections: (I) Introduction to Jesus’ Ministry (1:1-4:16), (II) The Development of Jesus’ Ministry (4:17-16:20), and (III) The Climax of Jesus’ Ministry (16:21-28:20).

Yet only in Matthew does Peter have a role in the story. Upon seeing Jesus on the water, he calls out, "'Lord, if it is you, command me to come to you on the water'"(Mt. 14.28). He almost succeeds, yet he suddenly gives in to fear and begins sinking. Jesus scolds him by saying, " 'You of little faith, why do you doubt?'"(14.31). This draws a strange picture of Peter. He no longer simply listens to Jesus, but tries to become actively involved in his teacher's lessons. This idea is again shown in Matthew 15.15. After the parable of the blind leading the blind, Peter asks, " "Explain this parable to us." Jesus replies with a rather impatient remark, but dives a little further into the meaning. He often comes to Jesus with questions throughout Matthew and these questions always ask for clear definitions of stories or truths about some spiritual detail. Many times Jesus snaps a little at him, but Peter obviously is not swayed by any impatience his teacher bestows. This seems to paint a closer relationship between the two men, where Peter is not afraid of Jesus and Jesus is not simply polite to Peter, as teachers tend to be. Jesus' obvious favoritism of Peter, shown in the transfiguration and throughout the gospel, leads one to believe that the two are indeed close friends with trust and mutual respect, which allows them to be freer with their words to one another. Friends tend to be less polite and more open with

In the painting Christ’s position shows his willingness and ability to heal the elderly man. His left hand is lifted the shelter of cloth the man is under, literally shows that Christ can lift the sick and heal them or can lift the burdens which befall them. Christ’s right-hand gesture is inviting and shows his love and willingness to help toward the elderly man. The elderly man’s hands are starting to reach up towards Christ, trusting and accepting his help.

While Gian Lorenzo Bernini’s sculpture “Apollo and Daphne” depicts a Romanian story of forbidden love, Ron Mueck’s “Two Women” portray two elderly women hyper-realistically. By analysing the meaning behind the two sculptures, evidence is given that the two artists had different intentions for their work. The story “Apollo and Daphne” is from a roman poem named “Metamorphoses” by a man named Ovid. In the story, Apollo is hit by a magical arrow from a god of

In this painting, he is being accused by the woman to the soldier. Caravaggio portrays the story of the Denial of St. Peter, as told in all four Gospels (Matthew, John, Luke, Mark) of the Bible. When Jesus was arrested, he prophesied that Peter, his disciple would denounce his name

In this paper, there will be research on the Gospel of Matthew from Daniel Harrington’s commentary “The Gospel of Matthew”, This paper will explain the teachings of the “6 Antithesis” in chapter 5 verses 21-48, and the main point on “Jesus came not to abolish but to “fulfill” the Law and Prophets (Harrington 90).” This paper will also have Daniel Harrington interpretations of the writing of the gospel of Matthew. I believe that Jesus had a reason for his teachings and how he went forward to preach them to the congregation.

Question 2 0 out of 2 points What effect does Caravaggio achieve with light in The Calling of Saint Matthew? Answer Selected Answer: Correct Answer: Shows Jesus bringing the light to sinners Transforms the calling into a miracle

Matthew 16: 13- 23 is the confession of Peter of Jesus true identity and the Prophecy of Jesus’ death and resurrection.

Matthew’s Christology is one that emphasises to a Jewish audience the Jewishness of Jesus. It will be the purpose of this paper to argue that the raison d’etre of Matthew’s Christology is to portray Jesus as entirely compatible if not with the Judaism of his day then with ancient Judaic tradition, namely the Old Testament. Whilst there are numerous titles given to Jesus that are exclusive/predominant within the Matthean account, such as that of Son of God, it is the writer’s assertion that these merely complement Matthew’s central theses; this being the portrayal of Jesus as Messiah and so, as such, will not be investigated except where they promote this conclusion. This fulfilment of Judaic tradition will be

It is a scene which is shown after Jesus was crucified, where his body has been removed from the cross and his friends and family mourn over his body. Many artists have focused this scene by just painting four people: the body of Christ, His mother, Saint Mary Magdalene and Joseph of Arimathea.

Leonardo’s scientific studies resulted in the paintings of rocks, plants, light and atmosphere. We can see hills, fields and the sky in the tree windows behind Christ. This is in a classical style, shown by the coffered ceiling which was introduced by ancient Greek and Romans and re-introduced again by Alberti. The orthogonals run from the coffered ceiling, the table and windows and from the disciples and their gestures which all then centres on Christ. The use of foreshortening in this painting is to emphasize the drama of the scene and to keep the figures in harmonious groups. As we can see on the third figure on the right, St Philip tries to deny that he would be the betrayer and to show this, his arm is foreshortened. While St Matthew, the fourth figure on the right, has his arms outflung which was made by foreshortening. This gesture was to help portray his horror, as well as his mouth opened talking to the 3 men to the left of him. There are other gestures that helped depict the idea of betrayal, as we can see on the left side of the painting where St Peter whispers to St. John’s ear while pushing Judas forward. All these gestures lead the viewers’ attention to the centre, where Christ is positioned. Behind Jesus, we can see the window where the natural light comes in which frames Christ’s head, like a halo. Christ’s position in the centre allowed him to be in front of the three windows, which symbolizes the Trinity. As well as that, we can see that he