Doubting Thomas

Like many theatrical compositions, "Doubting Thomas" exemplifies the baroque era aesthetic through various visual and narrative devices. Painted by Sebastian Lopez de Arteaga; a Spanish born painter who travelled to Mexico (New Spain) in 1640 CE from Cadiz, where he spent the remainder of his career. By completing multiple commissioned works in a short span of time, Arteaga established himself as a prominent practitioner in Mexico City. Arteaga also developed a close professional relationship with the Holy Office of the Inquisition and was appointed a notary of the Holy Office, a distinction that he proudly included in the signature on some of his paintings. Coming from the Sevillian tradition, Arteaga's style has several striking features such as Spanish naturalism, accurate anatomical rendering and Caravaggesque chiaroscuro, with figures emerging sharply from darkness which can also be defined by the term 'tenebrism'. "Doubting Thomas" showcases excellent visual storytelling through nuanced visages and the play of light and shadow directing the mood and ambience. It depicts one of the most psychologically powerful episodes from the Gospel of John 20:24–29, wherein, one of Jesus' disciples; Thomas is doubtful about the reappearance of Christ. Though informed by the other disciples, Thomas remains skeptical and refuses to believe without physical evidence, declaring that he would need to see and touch Christ's wounds. When Christ appears again, he invites Thomas to examine the wound in his side. The painting captures precisely this moment; Christ takes Thomas's hand and directs it toward the wound in his side. This choice is crucial as Arteaga does not depict Thomas merely looking at Christ, he represents the moment of physical verification, that is, the instant in which doubt is confronted through tactility. The painter employs a simple semiology here; the surrounding characters around Christ and the background is dark, symbolically representing doubt and uncertainty while Christ standing centrally, dominating the composition is illuminated by an intense, sharp light, indicating the emergence of truth and faith. The Museo del Prado specifically notes that the composition resembles models employed by followers of Caravaggio, including Jusepe de Ribera, while Arteaga's Sevillian formation connected him with the naturalistic tradition associated with Zurbaran. Physiognomy plays an important role in establishing the narrative, especially Christ and the surrounding disciples apart from Thomas. The Incredulity of Saint Thomas is particularly important because it demonstrates how European Baroque naturalism was transformed within colonial Mexico and the subsequent developments that occurred due to this introduction in the visual culture.