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Christ and the Samaritan Woman at the Well is a painting in oils on canvas of 1796 by Angelica Kauffman, depicting the eponymous Gospel passage.It was bought from the artist's estate in 1829 by Louis I of Bavaria and remained in the House of Wittelsbach until it was transferred to the Wittelsbacher Ausgleichsfonds in 1926; it then passed to the State of Bavaria in 1938.
Jesus said to her, "Go, call your husband, and come back." The woman answered him, "I have no husband." Jesus said to her, "You are right in saying, 'I have no husband'; for you have had five husbands, and the man you are now living with is not your husband. What you have said is true!" The woman said to him, "Sir, I see that you are a prophet.
The in-depth account about Jesus and the Samaritan Woman at the Well is highly significant for understanding Jesus in several relationships: Samaritans, women, and sinners. By talking openly with this woman, Jesus crossed a number of barriers which normally would have separated a Jewish teacher from such a person as this woman of Samaria.
Christological plants are among others the vine, the columbine, the carnation and the flowering cross, which grows out of an acanthus plant surrounded by tendrils. Mariological symbols include the rose, lily, olive, cedar, cypress and palm. Plants also appear as attributes of saints, especially virgins and martyrs.
Christ and the Samaritan Woman (1593-1594) Christ and the Samaritan Woman or The Woman at the Well is a 1593-1594 oil on canvas painting by Annibale Carracci, painted as part of the same scheme as the Palazzo Sampieri frescoes. Several years later he also produced a much smaller autograph copy with variations, now in the Museum of Fine Arts ...
Jesus Met the Woman at the Well" is a traditional gospel song. It relates the story of the meeting between Jesus and the Samaritan Woman , found in the Gospel of John at 4:4-26 . One of the earliest recordings, by The Pilgrim Travelers (1950), credits the song as "Traditional, arranged by J. W. Alexander ".
A woman leans eagerly forward in conversation with Jesus, in contrast to the typical portrayal of the time which showed the woman sitting passively listening to a monologue. [1] It is one of the few works by Gentileschi with a full landscape. [2] The disciples of Jesus can be seen in the background, walking out of the walled city. [3]
Bruegel depicts the woman as one of the few graceful figures in the scene. She is rendered as an idealised form, atypical of Brugel's usual earthy and homely female figures; [3] though the basic layout of the composition is Netherlandish, "the austere composition and monumental figures are perhaps the most Italianate in all Bruegel's paintings". [4]