Art Reproductions - Canvas Prints - Oil Painting Reproductions by TOPofART

The Calling of Saint Matthew, 1599 by Caravaggio

Oil Painting Reproduction
Oil Painting Reproduction
Actual Painted Size:
$1,522.00 ...:

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$$1522
Creation time: 4-5 weeks
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The Calling of Saint Matthew, 1599 | Caravaggio | Painting Reproduction

Painting Title:

The Calling of Saint Matthew, 1599


Artist:

Michelangelo Merisi da Caravaggio (1571-1610)


Location:

San Luigi dei Francesi Rome Italy


SKU:

CMM-4033

Original Size:

328 x 348 cm

Medium:

This painting reproduction will be completely painted by hand with oil paints on a blank linen canvas. We add additional 1.6" (4cm) of blank canvas above the offered size which will be used to stretch the canvas on a stretcher-bar.



The Time it Takes to be Created:

To paint your Caravaggio Hand-Painted Art Reproduction time is needed. The painting should not be made too hastily, nor should any deadlines be pursued. For the painting to acquire high quality and precision of detail, time is necessary. It also needs time to dry in order to be completely ready for shipping. Depending on the complexity, the level of detail, and the size of the painting, we'll need 4-5 weeks to make the painting.
Should a change of deadlines become necessary, or should your order arrive at a time when we are overloaded with work, then we will notify you by e-mail concerning how much time we would need to complete your painting reproduction.

Shipping:

We do not frame our oil painting reproductions. Hand-Painted Art Reproduction is an expensive product, and the risks of damaging a painting stretched on a frame during transportation are too high. The Calling of Saint Matthew by Caravaggio is, therefore, not framed, and will be sent to you rolled up and packaged in a strong and secure postal tube.
You can check the price for shipping the order on the shopping cart screen.

The reproduction of a painting with oil on a canvas - the process of painting in pictures step by step
The paintings we create are only of museum quality. Our academically trained artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.



The Calling of St Matthew, a pendant to the previous painting and hanging opposite it in the Contarelli Chapel, was particularly appropriate to both the place and the time, for Rome's French community had something to celebrate: Henri IV, heir to St Louis, had recently converted to the faith of his ancestors.
On this occasion, Caravaggio adhered to the biblical narrative relating to the apostle's conversion. Levi, a rich tax-gatherer or publican, is called by Christ out of darkness into God's light. Natural daylight, from some window high up on a wall to the right (mimicking the actual fall of light in the chapel) touches Christ's halo, face and right hand and the faces of the two youths who react to his presence, but not the eyes of the figures on the left who ignore it. The focus is on Levi, Matthew-to-be, whose attention is caught by Christ's glance and whose gesture queries whether it is he who is called. Complex rhythms of hands and feet, verticals and horizontals, reds and browns unify the picture, and a mood of serenity suffuses the moment of spiritual enlightenment.
In his drama of conversion Caravaggio shows his debts to northern European and northern Italian art. There was a Flemish tradition of pictures of money-lenders; and the two figures at the left, absorbed in the counting of coins, derive from Holbein. The two youths to the right with their plumed hats are Giorgionesque. But there is a Roman solemnity about the figures to the far right, for Christ and St Peter wear antique, timeless costume; and connoisseurs would have recognized in Christ's pointing gesture the reversed pose of the hand of Michelangelo's Adam on the ceiling of the Sistine Chapel. The divine and eternal nature of the message is stressed for the contemporary viewer.

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