PROVENANCE: Possibly the "replique" of unknown dimensions sold at the sale F. de N, Paris, April 11-12, 1836, no. 62; Julius Weitzner, London, 1981; BJU, 1981.

Jouvenet began his artistic training with his father, Laurent, in his hometown of Rouen . By the age of 12 he made his way to Paris to enter the studio of France's most powerful artist of the day, Charles LeBrun. Assisting LeBrun in the decoration of such palaces as the Saint-Germain-en-Laye and Versailles brought Jouvenet both the artistic experience and exposure necessary for a highly successful career. He easily gained entry into the French Academy in 1673 and eventually became its director in 1705. His concentration on large-scale religious works brought about his distinction as France's greatest painter of that genre in the late 17th-century. Contracting paralysis in his painting hand late in his life did not deter Jouvenet, who quickly mastered painting with his other hand and resumed working until his death.

Christ with the Roman Centurion is most likely a finished color sketch for the altarpiece Jouvenet painted for the church of the Recollets at Versailles in 1712 (now in the Musée des Beaux-Arts at Tours ). Such facile draftsmanship and sensitivity belies the fact that the artist's painting hand was in its final stage of paralysis. Perhaps the artist drew strength from the powerful message carried in the subject of his brush: that Christ honors the humble in heart as they approach Him in unwavering trust. The Roman officer came to Christ pleading for his servant's healing. However, he felt himself unworthy to trouble Jesus to come to his home, but believed Him powerful enough to heal with a word. Even as Jesus spoke and commended the centurion's faith, the servant was healed.