PROVENANCE: W. Dudley-Wallis Collection; Julius Weitzner, New York, 1956; BJU, 1956.

Early in his life, Strozzi decided to become a Capuchin monk and kept the nickname “Il Cappuccino” even after he was released from the Genoese monastery after about 10 years. He later went to live and paint in Venice where he acquired a new nickname, “Il Prete Genovese” (the Genoese priest). Such diverse influences as Ventura Salimbeni, Palma Giovane, and Rubens helped Strozzi to develop a unique painterly style characterized by strong color combinations, distinct oval-faced figures, and often-heavy impasto. Strozzi probably painted Christ and the Samaritan Woman just after his arrival in Venice. The artist often painted a number of versions of his religious subjects; for example, he illustrated the present subject at least three times.

The painting presents a poignant moment in the ministry of Christ as He presents eternal life to the Samaritan woman. Strozzi heightens the intimacy of the conversation by cropping the view and placing the figures in close proximity. The woman asks, “How is it that thou, being a Jew, askest drink of me, which am a woman of Samaria? For the Jews have no dealings with the Samaritans.” Christ, compassionately sensing her need for lasting satisfaction (she admitted having six husbands), told her of living water that would be “a well of water springing up into everlasting life.” The narrative closes with the woman’s bringing the rest of the town to meet Jesus, the giver of everlasting life.