In this painting we find the link with the late works of Veronese, confirming the references that the Venetian artist always maintained with the Venetian tradition of the previous generation. The episode of Christ and the Samaritan woman is taken from the Gospel of John and can be interpreted, following the principles of sacred painting of the period of the Counter-Reformation, in a Eucharistic-baptismal key. The client of the painting is not known, but the work is dated 1599 and was executed in Venice.

The sacred subject, painted with bright and bright colors, is one of the most frequent in the painting of Orazio De Ferrari, a pupil of Andrea Ansaldo, in whose work are evident the influences of Van Dyck, Rubens and Reni.
The canvas, made in 1650, was purchased in 1959, but its origin is still unknown; it is one of the masterpieces of the maturity of the Genoese artist who, in this kind of medium compositions - Large, he found the most congenial dimension to express his expressive abilities.The painting presents at the center of the composition the figures of Christ and the adulteress, around which the other characters are arranged in a semicircle, while the architectural base on the right in foreshortening measures the space.