Who painted Christ and the woman of Samaria at Jacob's well?

Christ and the woman of Samaria at Jacob's well was painted by John Linnell in 1842.

Where can I see Christ and the woman of Samaria at Jacob's well?

Christ and the woman of Samaria at Jacob's well is held by Fitzwilliam Museum.

What movement is Christ and the woman of Samaria at Jacob's well?

Christ and the woman of Samaria at Jacob's well is associated with Pre-Raphaelite.

Artwork

Christ and the woman of Samaria at Jacob's well

John Linnell , 1842

Christ and the woman of Samaria at Jacob's well is an oil painting by the Pre-Raphaelite artist John Linnell. It dates from 1842 and is held in the collection of the Fitzwilliam Museum.

About this work

Overview

John Linnell’s oil painting, titled Christ and the Woman of Samaria at Jacob’s Well and dated around 1842, presents a quiet biblical encounter. Executed in a naturalistic manner, the work aligns with the early Pre‑Raphaelite interest in precise observation and narrative detail.

Subject & Meaning

The composition captures the moment from the Gospel of John when Jesus speaks with a Samaritan woman beside a well. The woman, clad in a dark skirt and white blouse, holds a water jug, while Christ, in a red robe, sits nearby, emphasizing the intimacy of their dialogue and the breaking of social boundaries.

Technique & Style

Linnell employs warm hues and soft brushwork to render a tranquil atmosphere. The landscape behind the figures is rendered with lush foliage and gentle light, while a small dog in the foreground adds a domestic touch, reinforcing the scene’s calm realism.

History & Provenance

An English engraver and portraitist, Linnell was known for his admiration of Northern Renaissance art and his naturalist approach. This painting reflects his ongoing interest in biblical subjects and his participation in the artistic currents that preceded the full‑blown Pre‑Raphaelite movement.

Context

Created during a period when British artists were re‑examining medieval and early Renaissance models, the work illustrates the shift toward detailed storytelling and emotional resonance in religious art, moving away from the idealized conventions of earlier academic painting.