Who painted Christ and the Samaritan Woman?

Christ and the Samaritan Woman was painted by Francesco Brizio in 1595.

Where can I see Christ and the Samaritan Woman?

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

What movement is Christ and the Samaritan Woman?

Christ and the Samaritan Woman is associated with Renaissance.

Artwork

Christ and the Samaritan Woman

Francesco Brizio , 1595

Christ and the Samaritan Woman is an ink print by the Renaissance artist Francesco Brizio. It dates from 1595 and is held in the collection of the National Gallery of Art.

About this work

Overview

Francesco Brizio’s 1595 etching portrays the encounter between Jesus and the Samaritan woman at the well, a narrative drawn from the Gospel of John. Executed on laid paper, the print is part of the National Gallery of Art’s collection in Washington, D.C., and exemplifies the artist’s engagement with biblical themes during the late Renaissance.

Subject & Meaning

The composition centers on Christ seated beside a well, engaged in dialogue with a woman clothed in a flowing robe who leans forward to listen. A small crowd gathers behind them, observing the exchange, while a distant pastoral landscape of trees and hills frames the scene, emphasizing the universality of the teaching moment.

Technique & Style

Brizio employs fine, intersecting lines and cross‑hatching to render texture and volume, creating a convincing sense of depth across the figures and background. The careful modulation of light and shadow through etched shading highlights the central figures against the more subdued landscape, reflecting the meticulous draftsmanship characteristic of late‑Renaissance printmaking.

History & Provenance

Created in 1595, the etching has remained in the public domain through museum acquisition, ultimately entering the National Gallery of Art’s holdings. Its documented provenance traces back to early collectors of Italian prints, though specific ownership records prior to its museum accession are limited.

Context

The work belongs to a period when Italian artists frequently illustrated biblical episodes for devotional and instructional purposes. Brizio, active in Bologna, drew upon the visual language of the Counter‑Reformation, using clear narrative focus and detailed rendering to convey theological messages to a broad audience.