A powerful example of early German Expressionism, this 1907 work by Paula Modersohn-Becker uses thick impasto and simplified forms to reinterpret a biblical narrative.

Paula Modersohn-Becker painted The Good Samaritan in 1907, the final year of her life. This work demonstrates her departure from the naturalistic traditions of the Worpswede colony, moving instead towards a simplified, expressive form of representation. The composition is structured around a central tree, which acts as a vertical anchor for the figures gathered beneath it. Modersohn-Becker employs a heavy impasto technique, where the paint is applied in thick, tactile layers that give the surface a sculptural quality. The narrative subject, derived from the biblical parable, is treated with a deliberate lack of conventional sentimentality. The figures are rendered with blocky, simplified anatomy, reflecting the influence of Paul Cézanne and the works of Paul Gauguin, both of whom she studied during her time in Paris. The colour palette is earthy and grounded, dominated by deep browns, ochres, and muted greens, punctuated by the stark red of the house roof and the fruit in the tree. Unlike the academic painters of her era, Modersohn-Becker prioritised the emotional weight of the form over anatomical precision. The space is flattened, creating a decorative, almost primitive effect that directs the viewer's attention to the interaction between the figures. The donkey, positioned near the tree, serves as a quiet witness to the scene. This painting is representative of her late style, where she sought to capture the essence of human experience through reduced forms and a raw, direct application of pigment. Her work remains a significant example of early German Expressionism, showing a clear break from the artistic conventions of the nineteenth century.