Gregorio Lazzarini Circle

From the circle of GREGORIO LAZZARINI (Venice, 1655–1730).
“Christ and the Samaritan Woman” and “Noli me tangere.”
Oil on canvas. (2).
One of the works has a patch on the back.
They have labels on the back.
Measurements: 54 x 70.5 cm (x2); 78.5 x 95 cm (frames, x2).
This intriguing set of two religious paintings depicts two pivotal episodes in the life of Christ: the encounter with the Samaritan Woman at Jacob’s well and the appearance of the risen Jesus to Mary Magdalene, known as *Noli me tangere*. Both compositions stand out for their narrative quality, the expressiveness of their protagonists, and the integration of the figures into landscapes with a dark and evocative atmosphere.
One of the set’s main attractions lies in the stylistic and narrative relationship between the two paintings. Both share a landscape setting with dark tones, featuring trees with dense canopies and open horizons that lend depth to the compositions. The lighting is focused on the figures and their garments, whose red, blue, and ochre tones stand out against the dim surroundings. This use of light helps reinforce the spiritual dimension of the scenes and establishes a visual continuity between the two works, which likely belonged to a series depicting various moments in the life of Christ.
Stylistically, the influence of Gregorio Lazzarini is evident in the works, which display an aesthetic combining classical tradition, great narrative theatricality, and chromatic sensitivity—traits that characterize his oeuvre. His painting occupies a transitional period within the Venetian school, bridging the Baroque style of the 17th century and the new trends of the 18th century. In this context, the monumentality of the figures, the narrative clarity, and the emphasis placed on gestures constitute fundamental elements of his artistic language. Taken as a whole, the collection offers insight into the spread of these models within his circle and artistic milieu.
Gregorio Lazzarini was one of the most prominent Venetian painters of the late Baroque period. He was initially trained by Francesco Rosa and later by Girolamo Forabosco and Pietro della Vecchia, whose influence helped him develop a style characterized by compositional clarity, precise draftsmanship, and a luminous, refined color palette. He achieved notable recognition among the Venetian nobility, receiving major commissions for religious, mythological, and historical works. Examples of this include the decoration of the Doge’s Palace in Venice in 1694 and his monumental *Charity of Saint Lorenzo Giustiniani* (1691), created for the church of San Pietro di Castello. He also worked for prominent aristocratic families, such as the Labia and the Buonaccorsi. He was an active teacher and led a workshop that produced notable artists, including Giambattista Tiepolo, his most famous pupil, and Gaspare Diziani. His works are represented in prestigious public collections, such as the Doge’s Palace and Ca’ Rezzonico in Venice, the Giorgio Cini Foundation, the National Gallery of Slovenia in Ljubljana, and the Soumaya Museum in Mexico City.