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# The Pushkin State Museum of Fine Arts Begins Study of "Christ and the Woman Taken in Adultery" from the Collection of the Vladimir-Suzdal Museum-Reserve, Attributed to Antiveduto Gramatica (1570/71–1626)
- URL: https://theparnassian.com/en/gosudarstvennyi-muzei-izobrazitelnykh-iskusstv-imeni-pushkina-pristupaet-k-izucheniiu-proizvedeniia-iz-kollektsii-vladimiro-suzdalskogo-muzeia-zapovednika-khristos-i-greshnitsa-avtorstv/
- Published: 2024-03-14T11:43:49.000Z
- Updated: 2026-10-01T05:34:18.000Z
- Author: Alexandr Radayev
- Tags: Art, Moscow, Museums, Science

*The Pushkin State Museum of Fine Arts is beginning a study of "Christ and the Woman Taken in Adultery", a work from the collection of the Vladimir-Suzdal Museum-Reserve attributed to Antiveduto Gramatica (1570/71–1626). The painting will be analysed by a team of specialists from the Pushkin Museum, including technologists, conservators and art historians.*

The canvas "Christ and the Woman Taken in Adultery" once belonged to the art collection of a representative of an ancient noble family, Vladimir Semyonovich Khrapovitsky, a retired colonel of the Life Guards Hussar Regiment. It entered the collection of the Vladimir-Suzdal Museum-Reserve as a painting by an "unknown artist of the Late Renaissance".

The suggestion that the painter belonged to the Italian masters was first advanced in 1924 by Alexey Ivanov, director of the Vladimir Provincial Museum, who proposed the name of Luca Giordano. In 1996–1997 the painting was restored by the well-known Vladimir conservator Alexander Nekrasov (1927–2007). The attribution to Luca Giordano was also put forward by Alexander Skvortsov, author and compiler of the catalogue of the exhibition marking the 50th anniversary of the Vladimir Art Restoration Workshops.

In 2021 Sergey Akimov, a researcher from Nizhny Novgorod, basing himself on a highly persuasive comparative stylistic analysis of the work, put forward arguments in support of the authorship of the Italian master Antiveduto Gramatica. In 2023 the canvas was examined by specialists of the Cultural Heritage Research Laboratory at ITMO University (Saint Petersburg), whose results made it possible to establish that the painting is not a copy but an original.

The comprehensive technical and technological examination of the painting by specialists of the Pushkin State Museum of Fine Arts will include a detailed study of the paint layer and the chemical composition of the pigments, as well as of the canvas on which the work is painted. Together with art-historical research, this analysis will not only give a better understanding of the artist's painting technique but also help to refine the attribution of the painting.

![](https://theparnassian.com/content/images/2026/09/photo_11530@14-03-2024_14-43-49.jpg)

![](https://theparnassian.com/content/images/2026/09/photo_11531@14-03-2024_14-43-49.jpg)