St. Matthew the Evangelist 1400

Editor: This is Andrei Rublev's "St. Matthew the Evangelist" from around 1400, done in tempera. The architectural elements in the background give it a very serene feeling. What do you see when you look at this icon? Curator: Beyond the serenity, I see a work deeply embedded in its socio-political context. Consider the power dynamics inherent in religious art of the period, particularly the role of icons in reinforcing Byzantine and later Russian Orthodox authority. How does Rublev navigate this? Editor: So, it’s more than just a peaceful image of St. Matthew writing? Curator: Exactly. The very act of depicting St. Matthew—the process of canonization, scripture, and disseminating that—speaks to the church’s ideological control. But Rublev's style, particularly his use of light and color, softens that power, perhaps reflecting a desire for a more compassionate, humanistic faith. Notice the details in the clothing; does this allude to a specific socio-economic group, class, or a specific dogma? Editor: I didn't notice that! Now that you mention the colours, I realize there is that very bright blue contrasting against the architecture in the background. It makes Matthew stand out even more. Curator: And what does that prominence tell us? About the artist, the patron, the intended audience? Medieval art served specific purposes. Considering the history, do you think this St. Matthew is a portrayal, endorsement, or critique? Editor: I guess I was looking at it aesthetically rather than thinking about its purpose! I see the contrast differently now, not as peaceful but… perhaps deliberately making us question. Curator: Precisely! It’s in that questioning, in understanding the layers of historical, social, and religious power, that we truly engage with the artwork.