Who painted Christ and the woman of Samaria?

Christ and the woman of Samaria was painted by Nicolas-Pierre Loir in 1661.

Where can I see Christ and the woman of Samaria?

Christ and the woman of Samaria is held by Fitzwilliam Museum.

Artwork

Christ and the woman of Samaria

Christ and the woman of Samaria is an unspecified painting by Nicolas-Pierre Loir. It dates from 1661 and is held in the collection of the Fitzwilliam Museum.

About this work

Overview

Created circa 1661, this oil painting by French artist Nicolas‑Pierre Loir depicts the biblical encounter between Christ and the Samaritan woman. Executed in a restrained palette of browns and muted greens, the composition is illuminated by a warm, golden light that lends the scene a calm, intimate atmosphere.

Subject & Meaning

The work illustrates the moment from the Gospel of John when Jesus, seated at a well, engages the Samaritan woman in dialogue about living water. The woman, dressed in a long flowing robe, leans toward the well, holding a water jug, while Christ, in a red garment with a green cloak, listens attentively, emphasizing themes of spiritual thirst and revelation.

Technique & Style

Loir employs a subtle chiaroscuro, allowing the figures to emerge from a softly modeled background of trees and distant architecture. The brushwork is smooth, with careful attention to the texture of fabrics and the reflective surface of the water, while the overall composition balances narrative clarity with a serene, almost meditative mood.

History & Provenance

The painting entered the collection of the Fitzwilliam Museum in Cambridge, where it remains part of the institution’s holdings of 17th‑century French religious art. Its attribution to Loir, known for religious and historical allegories, aligns with his broader oeuvre from the mid‑Baroque period.

Context

During the mid‑17th century, French painters often combined classical composition with Baroque dynamism, a trend reflected in Loir’s treatment of biblical subjects. The work’s subdued coloration and emphasis on contemplative interaction echo contemporary Counter‑Reformation ideals that favored devotional intimacy over dramatic spectacle.