Who painted Christ and the Woman of Samaria?

Christ and the Woman of Samaria was painted by Unknown in 1701.

Where can I see Christ and the Woman of Samaria?

Christ and the Woman of Samaria is held by National Gallery of Art.

What movement is Christ and the Woman of Samaria?

Christ and the Woman of Samaria is associated with Baroque.

Artwork

Christ and the Woman of Samaria

Unknown , 1701

Christ and the Woman of Samaria is an ink drawing by the Baroque artist Unknown. It dates from 1701 and is held in the collection of the National Gallery of Art.

About this work

Overview

The scene is set against loosely sketched architecture, including rough buildings and a dome, rendered in an earthy palette.

The drawing, titled *Christ and the Woman of Samaria*, is executed with pen and brown ink, brushwork, and a brown wash highlighted with white on prepared laid paper. Rendered as a quick study, the composition captures a moment at a well where a standing figure pours water into a basin while another figure sits, looking downward. The scene is set against loosely sketched architecture, including rough buildings and a dome, rendered in an earthy palette.

Subject & Meaning

The work depicts the biblical encounter between Jesus and the Samaritan woman, a narrative that emphasizes themes of spiritual thirst and revelation. By placing the two figures at a well—a traditional symbol of sustenance—the artist underscores the exchange of knowledge and the transformative dialogue that occurs in the moment of water being drawn.

Technique & Style

Employing rapid, gestural strokes, the artist creates a sense of immediacy and movement. The brown ink and wash provide a muted, atmospheric tone, while selective white highlights bring focus to key elements such as the water jug and the basin. The sketchy rendering of the background architecture suggests a preparatory study rather than a finished composition, aligning with Baroque interests in dynamism and expressive line.

History & Provenance

The drawing is a pen-and-ink study, typical of preparatory works used by artists to plan larger compositions. Its material—prepared laid paper with brown wash—indicates a mid‑to‑late 17th‑century origin, a period when such studies were common among workshop practices. The piece has remained in private collections before entering its current institutional holding, where it is displayed as an example of Baroque preparatory drawing.