Saint Demetrius 1550

Editor: This is a tempera painting titled "Saint Demetrius," created around 1550. The horse and rider are very striking! What I find especially interesting is the texture of the gold background, which seems very aged. What's your take on it? Curator: Well, the aged quality you’re picking up on isn't accidental, but integral to understanding the function of Byzantine icons. The specific layering of tempera, combined with the use of gilding—likely thin sheets of hammered gold leaf—reflects not just aesthetic choices, but very specific labour practices within workshops. Do you see how the gold is almost worn away in places? Editor: Yes, you can definitely see that. Curator: That "wear" challenges our assumptions of 'preciousness' in art, pointing towards a daily engagement with the object through veneration and handling, which were really labour activities as well as worship activities. These material signs connect this work with specific devotional practices. Editor: That's fascinating! So the process of creation and even the eventual deterioration becomes part of the artwork's meaning. Was tempera a readily available medium at the time? Curator: It was the medium of choice for icon production due to its quick-drying properties. Multiple artists were often involved in different stages, demonstrating division of labour in Byzantine workshops. These painters used ground pigments and egg yolk; and, the gilding was also often entrusted to specialized workers. The work embodies collaborative, artisanal practices and broader economic systems, blurring lines between 'art' and 'craft'. What do you think that tells us? Editor: It's all so carefully, meticulously constructed, right down to who would be tasked with what. It reframes how we see religious artworks in terms of production, labor, and the role of the artist versus artisan. Thanks for shedding light on the importance of materials!