The Good Samaritan Stained Glass , Pocantico Hills

Faith, Reflection, Devotion

The Good Samaritan Window

Reminds us that light creates the vision. and art is a reminder of hope and love played out by artists who are recievers of the holy spirit.

Union Church of Pocantico Hills Pocantico Hills Church, Pocantico NY

Pictured is the Chagall Stained Glass window comissioned by the Rockefeller family.

Union Church is a repository of awe-inspiring art by Matisse & Chagall

Stained-glass windows by European masters, commissioned by the Rockefeller family, adorn this unassuming country church. Henri Matisse’s last commissioned work, the Rose Window, and nine windows by Marc Chagall create a dramatic combination of light and color, art and spirituality. Step inside and be inspired.

About The Good Samaritan

Marc Chagall’s Good Samaritan Window design dates back to 1967, after the end of World War II. The etching plates measure 10 3/4 x 7 5/8 in. (27.3 x 19.4 cm) with a sheet dimension of 17 7/8 x 15 in. (45.4 x 38.1 cm). Chagall used lines, angles, triangles and squares to create a whimsical horizon feature that resembles Russia’s villages where he spent his childhood years.

The Good Samaritan Window design is part of a series of stained glass artworks created by contemporary artists such as Corinne Vonaesch, John August Swanson, Jim Janknegt and Daniel Bonnell. It is not the only work related to this story; there are several others from different artists across the globe.

Chagall anticipated Surrealism’s dream-like imagery through his artwork; he believed that art should come from one’s psychic being and mind – a theme he portrayed in most of his pieces. The artwork draws viewers’ attention through its well-coordinated combination of abstract forms, symbols and colours depicting the biblical story’s message.

In summary, Marc Chagall’s Good Samaritan Window is an inspiring piece that captures both imagination and intellect while portraying its message beautifully with its harmonious blend of shapes and colours – a subtle nod to Chagall’s Russian village childhood aesthetics embodied within the piece itself.