A detailed Neoclassical engraving by Benoit Louis Henriquez depicting the biblical scene of Joseph fleeing the advances of Potiphar's wife.

This engraving depicts the biblical narrative of Joseph and Potiphar's wife, a subject frequently explored by artists during the eighteenth century. Benoit Louis Henriquez, a French engraver, captures the moment of dramatic tension as Joseph flees the advances of Potiphar's wife. The composition adheres to the formal rigour of the Neoclassical period, prioritising clear anatomical definition and a balanced arrangement of figures within a structured architectural space.

The scene is set in a domestic interior, though the inclusion of classical statuary in the background provides a sense of historical distance. Potiphar's wife is positioned on a draped bed, her gesture of reaching out to grasp Joseph's garment creating a diagonal line that draws the eye across the frame. Joseph, meanwhile, is shown in a state of retreat, his face covered in a gesture of moral distress or shame. The use of light and shadow, or chiaroscuro, is employed to model the musculature of the figures and to define the heavy folds of the fabric surrounding the bed.

Henriquez demonstrates technical precision in his handling of the burin. The cross-hatching and fine lines create a range of tonal values, from the deep shadows of the alcove to the highlights on the skin of the figures. This work reflects the period's interest in moralising themes drawn from classical and religious texts, presented through a lens of refined aesthetic order. The print serves as a record of the graphic arts in late eighteenth-century France, where the reproduction of paintings through engraving allowed for the wider dissemination of complex narrative compositions. The attention to detail, particularly in the rendering of the drapery and the classical statues, indicates the high level of craftsmanship expected of professional engravers of the era.