Who painted The Calling of St Matthew?

The Calling of St Matthew was painted by Hendrick ter Brugghen in 1616.

Where can I see The Calling of St Matthew?

The Calling of St Matthew is held by Museum of Fine Arts, Budapest.

What movement is The Calling of St Matthew?

The Calling of St Matthew is associated with Early Baroque Italian.

Artwork

The Calling of St Matthew

Hendrick ter Brugghen , 1616

The Calling of St Matthew is an oil painting by the Early Baroque Italian artist Hendrick ter Brugghen. It dates from 1616 and is held in the collection of the Museum of Fine Arts, Budapest.

About this work

Overview

Hendrick ter Brugghen’s *The Calling of St Matthew* (1616) is an oil painting that portrays the biblical episode in which Jesus invites the tax collector Matthew to become his disciple. Executed in the early Baroque style, the work belongs to the Utrecht Caravaggisti, a Dutch circle that adopted Caravaggio’s dramatic chiaroscuro.

Subject & Meaning

The composition centers on three figures inside a dim interior. Matthew, seated at a desk cluttered with papers and coins, is illuminated by a shaft of light that highlights his face and garments. To his left a man gestures toward him, while a third figure on the right points, suggesting the moment of divine summons.

Technique & Style

Ter Brugghen employs strong contrasts of light and shadow, a hallmark of Caravaggio’s influence, to focus attention on the central figure. The limited palette of muted browns and deep blacks is punctuated by the bright yellow robe and red hat of Matthew, enhancing the visual impact of the illuminated area.

History & Provenance

Created in 1616 while ter Brugghen was active in Utrecht, the painting reflects his exposure to Italian Baroque during a likely visit to Rome. It later entered private collections before being acquired by a museum, where it remains part of the narrative of Dutch Caravaggisti.

Context

The work illustrates the spread of Caravaggist aesthetics beyond Italy into the Dutch Republic, where artists adapted the dramatic lighting to local religious subjects. It demonstrates how Utrecht painters merged Northern realism with Southern theatricality during the early 17th century.