Christos and Samaritan, Semiardsky – overview of the painting

Christos and Samaritan, Semiardsky – overview of the painting
Christos and Samaritan, Semiardsky - overview of the painting - 1

  • Posted by Heinrich Semiardsky
  • Museum: Lviv Art Gallery
  • Year: 1890

Overview of the painting :

Christ and Samaritan woman – Heinrich Hippolitovich Semiardsky. Oil on canvas. 101 x 183 cm

   At the peak of his fame and popularity, Heinrich Ippolitovich Semiradsky writes the painting “Christ and Samaritan”. The most perhaps known parable from the Gospel of a Samaritan woman who came to the well. She is considered a sinner, “has five husbands in the past and now living with someone who is not her husband.”. Therefore, she comes for water at noon alone, so as not to meet other residents from the city of Sihar.

   Many artists wrote on this plot. But the innovation of Semiradsky is that he depicts a scene against the background of an unusually lively, almost real landscape. He skillfully combines the evangelical plot and the effect of the plenar. Thanks to this, the naturalness and reliability of the picture is created.

   In what cozy, shady place is the well. Here I really want to rest my soul and body after long wanderings on the hot Samaritan land. What a realistic play of light and shadows when writing centuries-old planks on the left side of the canvas.

   Away is a light haze of air that involves a sultry day. With great knowledge of the era, the author draws a girl’s costume with all the decorations – brushes, ribbons, bracelets, as well as a beautifully painted jug in her hands.

   In the center of the canvas is Jesus Christ. He and his disciples return to Galilee from Judea. He is tired, but his face and eyes are with good understanding addressed to this lost woman. Jesus talks to her openly, talks about his mission, they talk on spiritual topics, and in the heart of that Samaritan woman love and the spark of God arise.

   This work of the Semiradsky is echoed by the fact that it is without edification and instructiveness, which are always implied in the performance of religious subjects. There was almost nothing left of the gospel mythology in it. There was a lot of criticism about this. But in the public, in our audience, the picture only admires and enthusiasm for the skill and talent of the painter.