Artemisia Gentileschi, with her painting “Samaritana,” is at the center of an auction twist: a canvas attributed to the painter, judged as an alternative version of Christ and the Samaritan Woman, emerges as a prominent lot in Brescia.
At auction in Brescia, an unpublished masterpiece by Artemisia Gentileschi: new version of “Christ and the Samaritan Woman at the Well”
The art world is preparing for an extraordinary event: at the Capitolium Art auction, scheduled for October 14 and 15 in Brescia (Palazzo Cigola Fenaroli Valotti), an unpublished canvas by Artemisia Gentileschi, a possible second version of the famous “Christ and the Samaritan Woman at the Well” currently housed at Palazzo Blu in Pisa, will be presented.
The work, identified as lot 25, depicts a female figure in half-bust on a large canvas measuring 85×109.5 cm. It has been recognized as autograph by two internationally renowned scholars, Riccardo Lattuada and Nicola Spinosa, who confirm its attribution to the great Caravaggesque painter.
An alternative version of the Pisan masterpiece
According to Lattuada and Spinosa, the Brescian painting would represent an alternative and previously unknown version of “Christ and the Samaritan Woman”, one of the most important works in Artemisia Gentileschi’s career.
Despite the not optimal conservation conditions, the pictorial quality is surprising: some details suggest an executive superiority compared to the Pisan altarpiece, especially in the luminous rendering of the flesh tones and the depth of the gaze.
The discovery opens new research scenarios on Artemisia’s production, one of the most significant female figures of the seventeenth century, celebrated for her expressive strength and mastery of light in the Caravaggesque style.
A comparison with the “Samaritana” of Palazzo Blu
The appearance on the market of this new Samaritan Woman offers the opportunity to reconsider previous studies dedicated to the version of Palazzo Blu, discovered in 2004 in a private Sicilian collection and made public in 2007 thanks to the work of Luciano Arcangeli.
That work, signed and dated by the painter, was the subject of an in-depth analysis conducted by Francesco Solinas, culminating in the 2023 essay published by De Luca Editori. The discovery of the Brescian canvas now requires a reinterpretation of the collection history and a reflection on the ways in which Artemisia reworked her sacred subjects.
Stylistic and chromatic differences
The comparison between the two versions reveals substantial differences: in the canvas at auction, the face of the Samaritan Woman appears less tilted backward, and the modeling of the flesh tones is softer, almost velvety. The clothing also shows variations in the color range and style, with a palette even richer in iridescences and transparencies, typical of Gentileschi’s mastery.
Particularly recognizable are the luminous and vibrant yellows, a distinctive feature of Artemisia’s pictorial language. These technical details not only reinforce the attribution but also provide evidence of the painter’s evolutionary path, capable of reinterpreting the same theme with ever-new sensitivity.
A discovery that rewrites a chapter of art history
If confirmed, the authenticity of the painting presented by Capitolium Art would represent a discovery of international significance, destined to redefine the catalog of known works by Artemisia Gentileschi.
For historians and collectors, it is an unmissable opportunity to observe the evolution of the pictorial language of one of the most iconic artists of the seventeenth century. The art market, increasingly attentive to the great female masters of the past, looks with enthusiasm at this unpublished appearance, which could set a new record of interest and valuation.
A new look at Artemisia
The canvas at auction in Brescia is not only a possible rediscovery of a lost masterpiece but also a living testimony to the tireless creativity of Artemisia Gentileschi.
The comparison between the two Samaritans invites reflection on the painter’s artistic process, her dialogue with light, and her ability to transform a sacred subject into an intense human and female narrative.
If the attributions are confirmed, we could be facing a discovery destined to rewrite an entire chapter of Italian Baroque painting.
As expert in digital marketing, Amelia began working in the fintech sector in 2014 after writing her thesis on Bitcoin technology. Previously author for several international crypto-related magazines and CMO at Eidoo. She is now the co-founder and editor-in-chief of The Cryptonomist and Econique.
She is also a marketing teacher at Digital Coach in Milan and she published a book about NFTs for the Italian publishing house Mondadori, while she is also helping artists and company to entering in the sector. As advisor, Amelia is also involved in metaverse-related project such as The Nemesis and OVER.
