Stefano Trapanese - San Matteo e l'angelo - XXXL

Stefano Trapanese is a leading artist in the province of Salerno, Italy, and is consistently ranked in the top 10 of national profile masters in Italy (source: PitturiAmo.com).
In 2011, Stefano Trapanese created this painting for the City of Salerno. Various vicissitudes allowed the artist to regain possession of the work. With official documentation, the painting was appraised by the aforementioned entity at €20,000.
The subject is absolutely original, like all works by the Salerno Master, and features two models that can be posed in front of the 17th-century altar of the ancient church of Sant'Apollonia in Salerno as needed.
The 'San Matteo' by Trapanese is interpreted according to characteristics found in art history, looking at the Italian Seicento, particularly Caravaggio, in reference to the more 'human' rather than 'supernatural' character of the figures, as highlighted by the more detailed expression on the faces, emphasized by the use of oil glazes, which stand out significantly compared to other parts where the painting appears deliberately simplified.
The painting depicts an elderly man, dressed in the "apostolic" style, wearing a purple tunic and a yellow stole. In the background (where the central altar of the Church of Sant'Apollonia in Salerno can be seen), the empty space, dominated by darkness, is crossed by two sources of light coming from the right (a candle) and from the lower left. The Saint sits before a table and is intent on writing the Gospel. To the right, standing on a stool, a small angel draws his attention to the flame of a candle held by a candelabrum. The presence of the angel (also the iconographic symbol of the Saint), pointing toward the light, alludes to the fact that he is inspired by God. Matthew is depicted as no longer young, implying, as the hagiographic texts emphasize, that his vocation had come at an advanced age; his face is grave, hardened by a life spent in attachment to material goods. In fact, from the Gospels (Matthew 9:9-13; Mark 2:13-17; Luke 5:27-32), we know that before his conversion Matthew – Levi, which was his Hebrew name – was a “publican”, that is, a tax collector on behalf of the Romans, and was therefore considered a traitor to his people, a sinner in the service of the pagan rulers."
The painting, of large dimensions, will be framed by the buyer and will be shipped wrapped inside a tube suitable for containing it.
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Stefano Trapanese is a leading artist in the province of Salerno (Italy) and is consistently ranked among the top 10 national masters in Italy (source PitturiAmo.com).
In 2011, Stefano Trapanese created this painting for the City of Salerno. Various circumstances allowed the artist to regain possession of the work. With official documentation, the painting was valued at €20,000 by the aforementioned institution.
The subject is absolutely original, like all the works of the Salerno-born master, and features two models posed, as needed, before the 17th-century altar of the thousand-year-old church of Sant'Apollonia in Salerno.
Trapani's 'Saint Matthew' is interpreted according to characteristics found in art history, referencing seventeenth-century Italian art, particularly Caravaggio, in its emphasis on the 'human' rather than 'supernatural' nature of the figures. This is highlighted by more complex facial expressions, accentuated through the use of oil glazes, which significantly elevate the painting compared to other parts where the painting appears deliberately simplified.
The painting depicts an elderly man, dressed in 'apostolic' style, in a purple tunic and yellow stole; in the background (where the central altar of the Church of Sant'Apollonia in Salerno can be recognized), the empty space, dominated by darkness, is crossed by two sources of light coming from the right (a candle) and from the bottom left. The saint sits before a table and is intent on writing the Gospel. To the right, standing on a stool, a small angel draws his attention to the flame of a candle held by a candelabrum. The presence of the angel (also the iconographic symbol of the saint), pointing toward the light, alludes to the fact that he is inspired by God. Matthew is depicted as no longer young, implying, as the hagiographic texts emphasize, that his vocation had come late in life; his face is grave, hardened by a life spent in attachment to material goods. Indeed, from the Gospels (Matthew 9:9-13; Mark 2:13-17; Luke 5:27-32), we know that before his conversion, Matthew—Levi, his Hebrew name—was a 'publican,' that is, a tax collector for the Romans, and was therefore considered a traitor to his people, a sinner in the service of pagan rulers.
The large painting will be framed by the purchaser and shipped wrapped in a tube suitable for its containment.