Saint Matthew 1467 - 1473

Curator: Looking at the figure of Saint Matthew, sculpted in Brabant between 1467 and 1473 and currently residing at the Metropolitan Museum of Art, one immediately notes the introspective nature and spiritual devotion of the figure. Editor: I’m struck by how tactile the sculpture feels. You can almost feel the texture of the wood beneath the gilding and paint. It speaks of craft and a slower, more deliberate method of production, which sharply contrasts today’s rapid manufacturing. Curator: Absolutely, the layering of symbolism here is palpable. The book, of course, signifies Matthew’s Gospel and his role as an evangelist. But more than that, the gesture of holding the book close to the body indicates protection of, and faith in, divine wisdom. It is worth thinking about cultural memory here. Even in our era, the book remains an object imbued with the aura of something beyond the physical object. Editor: I find myself equally drawn to the base, almost hidden by the main figure. Its gothic tracery points to a sophisticated workshop, yet also suggests that these artisans were embedded in specific local guilds and market economies, not entirely distinct from our systems of global art markets today. Think about sourcing the wood itself. The choice of specific materials implies intention and consequence! Curator: Indeed. And note the hooded garment – reminiscent of monastic or scholarly robes – that also points to intellectual and spiritual authority while establishing a symbolic continuity. Medieval clothing signified belonging and status, a theme we still recognise in religious garb today. The cultural messaging transcends eras. Editor: Considering it was originally painted and gilded, I wonder who was involved? Was it a single artisan, or several? The layers of labor involved intrigue me – the shaping of the wood, the gilding, the painting itself – each process speaks of specialization, of individuals with different levels of skill participating in a creative project. Curator: Observing this representation, one feels anchored in a powerful stream of continuous artistic endeavour – Saint Matthew isn’t merely an object to view; it stands as an icon transmitting accumulated traditions across time. Editor: I see that legacy echoed through contemporary creative practice—how we still engage with materiality as a vital element of expression and social connection. Wood speaks and continues to invite hands-on creative exploration!