Matthias Stom
Supper at Emmaus
Ecce Homo
Old Woman Praying
Saint Peter praying
The Incredulity of Saint Thomas
The Lutenist and the Flautist
The Adoration of the Magi
The Martyrdom of Saint Bartholomew
Young Man with a Fiddle
Sarah brings Hagar to Abraham
The Judgement of Solomon
The Annunciation
Mucius Scaevola in the presence of Lars Porsenna
Holy Family
The Mocking of Christ
Saul and the Witch of Endor
Flagellation of Christ
Pilate Washing His Hands
Saint Matthew by candlelight
Young Man Reading by Candlelight
St AmbroseThe Lutenist and the Flautist
The Evangelists St Mark and St Luke
Madonna with scene of the Annunciation (detail)
Salome with the head of John the Baptist
An Old Woman Holding a Purse by Candlelight
The Adoration of the Shepherds
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Christ Disputing With The Doctors
Matthias Stom or Matthias Stomer (c. 1600 – after 1652) was a Dutch golden age painter considered one of the masters of Utrecht Caravaggism. Other variants of his name are Matthias Stohom or Stomma, Matheo Schem and Matteo Tomar. Stom spent most of his artistic life in Italy, and 200 of his works have been preserved.
Life
It is conjectured that Stom was born at Amersfoort or in the Utrecht area, but many details of his life are vague. An early mention of Stom was around 1630, when he lived in the same location as Paulus Bor had lived a few years earlier. He was a pupil of Gerard van Honthorst in Rome after 1615.[1]
He remained in Rome until 1632, after which he traveled to Naples, where he stayed until 1640. He then moved to Palermo, and delivered paintings for churches in Caccamo and Monreale. He sold three paintings to Antonio Ruffo, duke of Messina.[1] It is speculated that he died in Sicily, or alternatively in Northern Italy, where in 1652 he painted an altar piece for the church in Chiuduno.[2]
His son or grandson, Mattia (il giovane) Stomer (1649–1702), also was a painter.[3]
Style
Stom was influenced by the Baroque painter Caravaggio and his followers, utilizing their mastery of chiaroscuro. His work typically features religious scenes.[4] He is appreciated for his psychology and noted for his "distinctive claylike treatment of flesh".[5]
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