Saint Stephen 1895

Curator: Here, we have Sir John Everett Millais' painting, Saint Stephen. The Tate Collections houses this large canvas. Editor: It's a somber piece; the stark contrast between the illuminated figure and the dark background creates a palpable sense of isolation and finality. Curator: Millais painted this without commission, intending to sell it privately. It reflects a Victorian interest in religious martyrdom, tapping into both pathos and moral instruction. Editor: Look at the ground! The texture seems almost coarse; you can practically feel the grit and rough edges of those stones that ended Stephen’s life. Curator: The choice of subject, Stephen's stoning, allowed Millais to explore themes of religious persecution that resonated within the sociopolitical climate of the time. Editor: The halo seems almost hastily rendered, perhaps to emphasize the brutality of the scene and the raw, unvarnished nature of the martyrdom. Curator: Millais' commitment to portraying the event with such unflinching realism challenged the sanitized depictions of religious subjects prevalent in academic painting. Editor: Considering the means of production and Millais's meticulous detail in crafting such a grim image, it makes one consider the artist’s emotional investment in the narrative. Curator: Indeed. It’s a powerful reminder of the intersection between art, belief, and the often-violent realities of history. Editor: A dark painting that makes us think of the labor involved in its creation, and the hard work of those who lived in the past.