Artwork
Christ and the Woman of Samaria
Christ and the Woman of Samaria is an oil painting by the Mannerist artist Girolamo da Treviso the Younger. It dates from 1525 and is held in the collection of the Kunsthistorisches Museum.
About this work
Overview
Christ and the Woman of Samaria, painted in 1525 by Girolamo da Treviso the Younger, is an oil painting depicting a pivotal religious encounter. Executed during the Italian Renaissance, the work is characteristic of the Mannerist style.
Subject & Meaning
The painting illustrates a biblical scene where Jesus Christ engages with a Samaritan woman at a well, a moment symbolizing spiritual enlightenment and acceptance. The serene interaction between the two main figures conveys themes of gentle guidance and contemplation.
Technique & Style
While specific artistic techniques are not detailed here, the composition reflects Mannerist tendencies through its use of contrasting colors (notably the woman’s red dress and Christ’s red cloak against white attire) and the blend of everyday life with religious narrative set against a harmonious, if somewhat subdued, landscape.
History & Provenance
Created for Henry VIII’s court in England, the painting later found its way into the collection of the Kunsthistorisches Museum, where it is currently held.
Context
Commissioned during Henry VIII’s reign, the work reflects the religious and artistic cross-currents of the early 16th century in Europe, blending Italian Renaissance influences with the religious themes relevant to the English court.
Legacy
As a Mannerist piece from a lesser-known artist of the Renaissance, its legacy lies more in its representation of the style and era rather than groundbreaking influence on subsequent art movements.
Artist & collection
Artist
Girolamo da Treviso the Younger
Girolamo da Treviso (Treviso, 1498 – Boulogne-sur-Mer, September 10, 1544), also known as Girolamo di Tommaso da Treviso the Younger and Girolamo Trevigi, was an Italian Renaissance sculptor and painter in Henry VIII's court in England.
