Vincent van Gogh – The Good Samaritan
By Alexandra Tuschka
The expert in religious law asks Jesus a good question: How can I inherit eternal life? Jesus’ answer: Love God and your neighbour as yourself. Simple enough—but “Who is my neighbour?” the curious man wants to know. In the Gospel of Luke, we then hear the parable of the Good Samaritan.
A man travelling to Jericho is attacked by robbers and left badly injured.
A priest and a Levite see him but pass by.
A Samaritan—a stranger from Samaria, a region despised by many Jews—helps the injured man: he bandages his wounds, takes him to an inn and pays for his care.
Jesus asks: “Who acted as a neighbour?” The expert in religious law replies: “The one who showed mercy.” Jesus concludes: “Then go and do likewise!”
This simple parable has often been depicted in the visual arts, offering viewers an easily understood reminder to follow the Samaritan’s example. Although the story is brief, several of its moments can plausibly be brought together on a single canvas. In the foreground, we typically see the injured victim, stripped of his clothes, having his wounds dressed and being cared for by the Samaritan. The donkey is often present, sometimes accompanied by one or two dogs. European artists frequently set the scene in a familiar woodland clearing, where the injured man lies in plain sight. Anyone claiming not to have seen him would hardly be credible. The two men who passed by earlier can often still be seen from behind in the background—sometimes both of them, sometimes just one standing in for the pair.
Delacroix chooses the moment when the Samaritan, with considerable effort, lifts the injured man onto the donkey. In the background, a less distinct figure walks away, conspicuously absorbed in a book. The other man can also be made out, already almost out of sight.
Delacroix’s characteristic lively brushwork and rich colour are clearly evident in this painting of 1849, yet its overall mood is rather sombre. It was created during a period of profound social and political upheaval in Europe. Against this background, it can be read as a call for compassion in the face of injustice. Whether Delacroix intended it as a direct response to the political situation, however, remains an open question.
Van Gogh’s painting, made in early May 1890 and now in the Kröller-Müller Museum, creates a very different impression while adopting Delacroix’s composition. Van Gogh worked directly from a black-and-white lithograph by Jules Laurens after Delacroix. He therefore had to devise the colour scheme himself. This is precisely where the individuality of his version lies: blue and violet contrast with yellow, red with green; bold contours and undulating brushstrokes lend the scene a vibrant tension while creating little spatial depth. Van Gogh painted the work during his stay in Saint-Rémy, following another severe health crisis. His choice of subject can be understood above all as an exploration of his own need for help and his experience of being cared for.
This also suggests a possible connection with his brother Theo: just as the Samaritan supported the injured man, Theo stood steadfastly by Vincent. The Kröller-Müller Museum therefore proposes that the painting may also be read as an allusion to this support. There is, however, no conclusive evidence that the two figures represent the brothers.
At the same time, engaging with Delacroix’s work was itself a source of comfort for van Gogh. As early as September 1889, he explained to Theo that painting after works by artists he admired helped him during his illness. He compared this practice to a personal interpretation of a piece of music. His choice of subject can thus be linked to two forms of support: the human assistance within the story depicted and the solace van Gogh found in art.
Unknown Artist – The Good Samaritan
Oil on panel, second half of the 16th century (1551–1600), 126.5 × 98 cm (overall dimensions), Museum Sint-Janshospitaal, Bruges.
Eugène Delacroix – The Good Samaritan
Oil on canvas, 1849, 37 × 30 cm, private collection.
Vincent van Gogh – The Good Samaritan (after Delacroix)
Oil on canvas, early May 1890, 73 × 59.5 cm, Kröller-Müller Museum, Otterlo.
