Who painted Ananias of Damascus lays his hand on Saul?

Ananias of Damascus lays his hand on Saul was painted by Ciro Ferri in 1660.

Where can I see Ananias of Damascus lays his hand on Saul?

Ananias of Damascus lays his hand on Saul is held by Kunsthistorisches Museum.

What movement is Ananias of Damascus lays his hand on Saul?

Ananias of Damascus lays his hand on Saul is associated with Early Baroque Italian.

Artwork

Ananias of Damascus lays his hand on Saul

Ciro Ferri , 1660

Ananias of Damascus lays his hand on Saul is an oil painting by the Early Baroque Italian artist Ciro Ferri. It dates from 1660 and is held in the collection of the Kunsthistorisches Museum.

About this work

Overview

Ciro Ferri’s oil painting, created in 1660, portrays the biblical encounter in which Ananias of Damascus restores sight to Saul of Tarsus. The work is part of the collection of the Kunsthistorisches Museum in Vienna and measures a modest size typical of Ferri’s late‑Baroque canvases.

Subject & Meaning

The scene captures the moment Ananias, an elderly figure in a yellow robe, leans over a kneeling Saul, placing his hand upon the apostle’s head. The gesture conveys a blend of blessing and healing, reflecting the scriptural narrative of Saul’s sudden recovery from temporary blindness after his conversion.

Technique & Style

Ferri employs a chiaroscuro scheme, using strong contrasts between warm reds, golds, and earthy tones against deep shadows to focus attention on the central figures. The dimly lit interior, rendered with soft modeling of flesh and drapery, exemplifies the dramatic lighting favored by Roman Baroque painters.

History & Provenance

After its completion in 1660, the canvas entered private collections before being acquired by the imperial holdings of the Habsburgs. It was transferred to the Kunsthistorisches Museum in the early twentieth century, where it remains on display as part of the museum’s Baroque holdings.

Context

The work reflects Ferri’s training in the studio of Pietro da Cortona, echoing the grand narrative compositions popular in mid‑seventeenth‑century Rome. By choosing a moment of spiritual transformation, Ferri aligns his painting with Counter‑Reformation themes that emphasized divine intervention and the power of faith.