Who painted The Parable of the Good Samaritan?

The Parable of the Good Samaritan was painted by Augustin Hirschvogel in 1549.

Where can I see The Parable of the Good Samaritan?

The Parable of the Good Samaritan is held by National Gallery of Art.

What movement is The Parable of the Good Samaritan?

The Parable of the Good Samaritan is associated with Renaissance.

Can I buy a print of The Parable of the Good Samaritan?

Museum-quality prints of The Parable of the Good Samaritan are available made-to-order from Artifact World Gallery.

Artwork

The Parable of the Good Samaritan

Augustin Hirschvogel , 1549

The Parable of the Good Samaritan is an ink print by the Renaissance artist Augustin Hirschvogel. It dates from 1549 and is held in the collection of the National Gallery of Art. Created in 1549, this etching depicts the biblical Parable of the Good Samaritan.

About this work

Overview

Created in 1549, this etching depicts the biblical Parable of the Good Samaritan. Executed by Augustin Hirschvogel, a German artist known for his work in mathematics and cartography, the print presents a wounded traveler, a bystander offering aid, and a distant town, all rendered in monochrome line work.

Subject & Meaning

The composition illustrates the moment when a passerby leans over the injured man, holding a cup, while another figure stands aloof with hands on his hips. The scene conveys themes of compassion and unexpected assistance, echoing the moral lesson of the biblical narrative.

Technique & Style

Hirschvogel employed the etching process, using acid to incise lines into a metal plate before printing. The work is characterized by rapid, sketch‑like strokes that suggest movement and emotional tension, a hallmark of the Danube School’s approach to narrative landscape.

History & Provenance

Part of Hirschvogel’s series of thirty‑five small landscape etchings produced between 1545 and 1549, this print reflects the artist’s engagement with both cartographic precision and religious storytelling. It remains associated with the Danube School, a mid‑16th‑century group active in Bavaria and Austria.

Context

During the mid‑1500s, printmaking increasingly served as a vehicle for disseminating biblical stories and moral instruction. Hirschvogel’s work aligns with contemporary interests in combining detailed landscape settings with narrative content, offering viewers both visual and didactic experience.