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	William Holman Hunt - Wikipedia, the free encyclopedia
		William Holman Hunt (April 2, 1827 – September 7, 1910) was a British painter.
		Hunt's works were not initially successful, and were widely attacked in the art press for their alleged clumsiness and ugliness.
		Hunt's autobiography Pre-Raphaelitism and the Pre-Raphaelite Brotherhood was written to correct other literature about the origins of the Brotherhood, which in his view did not adequately recognise his own contribution.
	en.wikipedia.org /wiki/William_Holman_Hunt (594 words)

	WILLIAM HOLMAN HUNT - LoveToKnow Article on WILLIAM HOLMAN HUNT (Site not responding. Last check: 2007-09-05)
		In 1846 Holman Hunt sent to the Royal Academy his first picture (Hark 1), which was followed by Dr Rochecliffe performing Divine Service in the Cottage of Joceine Joliffe at Woodstock, in 1847, and The Flight of Madeline and Po~hyrio (from Keatss Eve of St Agnes) in 1848.
		Holman Hunts next great religious picture was The Shadow of Death (exhibited separately in 1873), an imaginary incident in the life of our Lord, who, lifting His arms with weariness after labor in His workshop, throws a shadow on the wall as of a man crucified, which is perceived by His mother.
		After two years absence Holman Hunt returned to Jerusalem in 1875, where he was engaged upon his great picture of The Triumph of the Innocents, which proved to be the most serious labor of his life.
	www.1911encyclopedia.org /H/HU/HUNT_WILLIAM_HOLMAN.htm (1608 words)

	WILLIAM HOLMAN HUNT - LoveToKnow Article on WILLIAM HOLMAN HUNT (Site not responding. Last check: 2007-09-05)
		He returnee with William IlL, but the family failed to recover their property Holman Hunts father was the manager of a city warehouse with tastes superior to his position in life.
		Hunt was placed in a city office, but he employed his leisure in reading, drawing and painting, and at sixteen began an independent career as an artist.
		For months Holman Hunt waited in vain for the arrival of his materials, and at last he unforttinately began on an unsuitable piece of linen procured in despair at Jerusalem.
	55.1911encyclopedia.org /H/HU/HUNT_WILLIAM_HOLMAN.htm (1608 words)

	'The Scapegoat', William Holman Hunt (Site not responding. Last check: 2007-09-05)
		Hunt's researches disclosed that on the Festival of the Day of Atonement, a goat was ejected from the temple with a scarlet piece of woolen cloth on its head.
		Hunt chose to set his goat in a landscape of quite hideous desolation - it is the shore of the Dead Sea at Osdoom with the mountains of Edom in the distance.
		In his diary Hunt described this setting as 'a scene of beautifully arranged horrible wilderness' and he saw the Dead Sea as a 'horrible figure of sin', believing as did many at this time that it was the original site of the city of Sodom.
	www.liverpoolmuseums.org.uk /online/pre-Raphaelites/scapegoat.asp (569 words)

	William Holman Hunt Biography / Biography of William Holman Hunt Biography Biography
		The English painter William Holman Hunt (1827-1910) was one of the founding members of the Pre-Raphaelite Brotherhood and the only one to remain faithful to its precepts throughout his life.
		Hunt was passionately determined to ensure absolute truth to nature in the rendering of his subjects.
		Although Hunt was obsessed throughout his life with light and its effect on color, his popularity was to a large extent founded on his vivid religious imagery, which received wide circulation in the form of engravings.
	www.bookrags.com /biography-william-holman-hunt (552 words)

	William Holman Hunt - Encyclopedia.WorldSearch (Site not responding. Last check: 2007-09-05)
		Hunt's works were not initially successful, but he became famous with his religious paintings, notably The Light of the World, which toured Britain and the United States.
		William Holman Hunt and typological symbolism (Studies in British art)
		A Pre-Raphaelite friendship: The correspondence of William Holman Hunt and John Lucas Tupper (Nineteenth-century studies)
	encyclopedia.worldsearch.com /william_holman_hunt.htm (472 words)

	William Holman Hunt on Poetry
		Holman Hunt's reliance upon literary sources, his skillful use of complex symbolism, and his devotion to inscriptions on his frames and within the picture all bespeak his basic notion that the painter's image had to associate itself closely with verbal discourse.
		Characteristically, Hunt's defiant praise of Tennyson on moral grounds -- he was writing with the recent experience of the Yellow Nineties in mind -- takes the form of a detailed reminiscence of his defense of the poet decades earlier.
		The painting on Hunt's easel was Rienzi, an illustration of Bulwer Lytton's novel which is strikingly similar to Taylor's drama: In both works the heroes are men of comparatively low birth and scholarly temperament who find themselves forced to abandon their chosen pursuits to lead successful revolts of the lower orders.
	www.victorianweb.org /painting/whh/whhpoetry.html (3087 words)

	William Holman Hunt, 1827-1910 (Site not responding. Last check: 2007-09-05)
		Hunt was born in London and demonstrated an early talent for painting.
		Hunt's style is easily distinguished from other Pre-Raphaelite painters by the emotional intensity of his characters and his choice of mainly religious and moral subjects.
		Hunt's fascination with the Middle East distinguished him from the rest of the Pre-Raphaelite artists.
	www.liverpoolmuseums.org.uk /online/featuredartists/holmanhunt (260 words)

	William Holman Hunt (1827-1910) (Site not responding. Last check: 2007-09-05)
		Hunt stayed faithful to the Pre-Raphaelite ideas and painting techniques, and he claimed that he never modified his: Uncompromising assertion of the principles of truth in preference to beauty.
		Hunt's paintings - nearly all religious or moralistic - have messages to be read and are characterised by extreme detail and a brightness of light that makes the colour somewhat harsh.
		Hunt's paintings were painstaking efforts, and he took a long time on each one.
	freespace.virgin.net /k.peart/Victorian/hunt.htm (147 words)

	William Holman Hunt
		Holman Hunt left school early and went to work as a clerk at the age of 12.
		Hunt had chosen a subject from a little known poem by a fairly obscure poet who had died in 1821: the poem was The Eve of St Agnes and the poet Keats.
		A Pre-Raphaelite Friendship: The Correspondence of William Holman Hunt and John Lucas Tupper, by James H. Coombs.
	www.artchive.com /artchive/H/hunt.html (1410 words)

	William Holman Hunt: from Literature to Art (Site not responding. Last check: 2007-09-05)
		William Holman Hunt (1827-1910) was one of the three founder-members of the Pre-Raphaelite Brotherhood, along with (Sir) John Everett Millais (1829-96) and Dante Gabriel Rossetti (1828-82).
		Hunt also shows her at a moment of enlightenment, with the optimistic implication that if she leaves now, her salvation, in a worldly as well as a spiritual sense, will still be possible.
		Hunt and Tennyson got on well, even when the poet expressed his surprise at the artist's depiction of the Lady: since he had not described her in his poem as having long, loose, wavy hair, he could not understand why Hunt had given her such wayward tresses.
	oufcnt2.open.ac.uk /~gill_stoker/hunt.htm (4250 words)

	William Holman Hunt (Site not responding. Last check: 2007-09-05)
		Hunt was born in London and entered the schools of the Royal Academy in 1844, where he met John Everett Millais, his life-long friend.
		In 1848-9, Hunt and Millais, together with D. Rossetti and several other painters, formed the Pre-Raphaelite Brotherhood; as a group these artists turned from the Royal Academy and its styles of painting and pledged themselves instead to paint accurately and faithfully from nature in precise detail.
		Hunt did several paintings on scenes from Shakespeare, and he felt an affinity for the playwright, who, he says in his memoirs, impressed him with his ability to speak to people of all classes, the rich and the poor, the educated and the manual laborer:
	www.english.emory.edu /classes/Shakespeare_Illustrated/Hunt.html (229 words)

	BBC - Painting the Weather - Hunt
		British painter, one of the original members of the Pre-Raphaelite Brotherhood, Hunt developed a style of symbolic realism where subjects were used to suggest ideas on a religious or moral theme.
		Hunt was famous for his luminous use of colour, a technique that became all the more intense after several years spent painting in the Holy Land.
		Hunt’s desire for accuracy was so intense that in preparing for ‘The Scapegoat’ he took a goat with him to the Dead Sea to make location sketches.
	www.bbc.co.uk /paintingtheweather/csv/artist/hunt.shtml (127 words)

	William Holman Hunt (Site not responding. Last check: 2007-09-05)
		After travelling to the Holy Land in search of accurate topographical and material for further religious works Hunt painted Scapegoat" "The Finding of the Saviour in Temple" and "The Shadow of Death" along many landscapes of the region.
		These features were influenced the writings of John Ruskin and Thomas Carlyle according to whom the world itself be read as a system of visual For Hunt it was the duty of artist to reveal the correspondence between sign fact.
		Hunt's autobiography "Pre-Raphaelitism and the Pre-Raphaelite Brotherhood" written to correct other literature about the of the Brotherhood which in his view not adequately recognise his own contribution.
	www.freeglossary.com /William_Holman_Hunt (351 words)

	William Holman Hunt Bibliography
		Reacting to the criticism of "The Hireling Shepherd" from its first appearance at the Royal Academy in 1852 to that of the time this essay was written, Kriz criticizes the critics and focuses on moral critique for which the painting was originally intended.
		Landow's book does not place Hunt within the context of other painters, does not provide a history of the Pre-Raphaelite movement, and is not a comprehensive study of William Holman Hunt's life and achievements.
		The views included by Landow describe Hunt's work as a commentary on politics of the day, as a continuation of the theme of irresponsibility in one of Hunt's previous paintings (The Hireling Shepherd), and as a look at the folly of man and the need for religion.
	www.umd.umich.edu /casl/hum/eng/jonsmith/eng432/huntbib.html (1232 words)

	William Holman Hunt - Olga's Gallery
		William Holman Hunt (1827-1910) is an English painter, born in London.
		Hunt believed that renewal of art must involve a return to honored religious and moral ideals, and these became the center of his work.
		Hunt's Pre-Raphaelitism and the Pre-Raphaelite Brotherhood (1905) is a valuable record of the movement.
	www.abcgallery.com /H/huntwh/huntwhbio.html (381 words)

	William Holman Hunt - bio (Site not responding. Last check: 2007-09-05)
		Holman Hunt began his career with a conventional style of painting, guided by the Royal Academy.
		Holman Hunt’s greatest contribution to the world of art was his role in the Pre-Raphaelite movement.
		Holman Hunt in particular was fond of religious iconography and authenticity of natural depictions.
	athena.english.vt.edu /~jmooney/3044biosh-o/hunt.html (307 words)

	Biography for: William Holman Hunt (Site not responding. Last check: 2007-09-05)
		Hunt was an original member of the Pre Raphaelite Brotherhood.
		Hunt wrote to Whistler in March 1885 with his apologies for his wife and himself having missed the delivery of his Ten O'Clock Lecture for the University Fine Arts Society at the Theatre Royal in Cambridge for which Whistler had sent him an invitation.
		However, Hunt's moralistic and religious approach to art was completely opposed to the art for art's sake ethos of Whistler.
	www.whistler.arts.gla.ac.uk /biog/Hunt_WH.htm (283 words)

	The Miracle of the Sacred Fire, Church of the Holy Sepulchre (Site not responding. Last check: 2007-09-05)
		William Holman Hunt, The Miracle of the Holy Fire in the Church of the Sepulchre at Jerusalem, Painted by W. Holman Hunt, brochure (London, 1899), pp.
		William Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood (New York, NY and London, England, 1905-1906), vol.
		William Holman Hunt, Pre-Raphaelitism and the Pre-Raphaelite Brotherhood (London, 1913), vol.
	www.artmuseums.harvard.edu /collections/servlet/webpublisher.WebCommunication?ia=codetail&ic=basic&oid=85075&sq=2&tr=2&tech=&name=Hunt&title=&objtype=&medspt=&dtfrom=&dtto=¢ury=&credit=&cult=&accnum=&pic=yes&aid=1900&icurrpage=1&isrc=singleartis (814 words)

	The Art Bulletin: William Holman Hunt's The Scapegoat: Rite of forgiveness/transference of blame.(Critical Essay)@ ... (Site not responding. Last check: 2007-09-05)
		The Art Bulletin: William Holman Hunt's The Scapegoat: Rite of forgiveness/transference of blame.(Critical Essay)@ HighBeam Research
		William Holman Hunt's The Scapegoat: Rite of forgiveness/transference of blame.(Critical Essay)
		By his own admission, the eminent Pre-Raphaelite painter William Holman Hunt suffered from an "Oriental mania," and his justification for his several trips to the Holy Land fit the paradigm of the Orientalist explorer-adventurer-author characterized by Edward Said in his 1978 foundational text, Orientalism.
	www.highbeam.com /library/doc0.asp?DOCID=1G1:84721209&refid=ip_encyclopedia_hf (192 words)

	William Holman Hunt - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-09-05)
		William Holman Hunt (April 2, 1827 - September 7, 1910) was one of the founders of the Pre-Raphaelite Brotherhood.
		However, it was with his with his religious paintings that he became famous, initially The Light of the World, which toured Britain and the United States.
		His last major work, The Lady of Shalott, was completed with the help of an assistant.
	www.lighthousepoint.us /project/wikipedia/index.php/William_Holman_Hunt (491 words)

	Hunt, (William) Holman
		Hunt's works are both intensely realistic and symbolic.
		The Shadow of Death, for example, a minutely detail depiction of a biblical carpenter's workshop, shows a shadow of the Crucifixion cast on the workshop wall by the stretched arms of Jesus.
		Obsessed with exact historical and archaeological detail, particularly for his religious works, Hunt visited Palestine and Syria in 1854, producing The Scapegoat (1856), with a meticulous study of the scenery around the Dead Sea; and The Finding of Our Saviour in the Temple (1860; Birmingham City Art Gallery).
	www.tiscali.co.uk /reference/encyclopaedia/hutchinson/m0014348.html (230 words)

	Hunt William Holman (Site not responding. Last check: 2007-09-05)
		William Holman Hunt - Olga's Gallery - Comprehensive collection of the images of Hunt's works with biography and historical comments.
		William Holman Hunt and The Lady of Shalott - Picture essay on the development of this famous work.
		William Holman Hunt's Oriental Mania and his Uffizi self portrait - George P. Landow's essay, originally from The Art Bulletin, 1982.
	www.findly.com /hunt%2C-william-holman.htm (105 words)

	William Holman Hunt (1827 - 1910) Artwork Images, Exhibitions, Reviews
		Born in London, William Holman Hunt entered the Royal Academy School in 1844 where he met Rossetti and Millais.
		Although Hunt’s detailed and symbolist works fit in well with the aims of the movement, his religion kept him from becoming absorbed with the London art scene at the time.
		William Holman A.R.A. Hunt, The Abundance of Egypt, circa 1857
	www.wwar.com /masters/h/hunt-william_holman.html (1412 words)

	William Holman Hunt
		Hunt's linear style filled with minute details and an unswerving morality made him a natural and key element of the movement.
		During trips to Egypt and Palestine in 1854 and 1892, Hunt painted his two great religious works, "Finding of Christ in the Temple", and "The Scapegoat".
		Although the pre-Raphaelites broke up in 1852, Hunt remained loyal to that style until his death in 1910.
	www.3d-dali.com /Artist-Biographies/William_Holman_Hunt.html (152 words)

	William Holman Hunt's Scapegoat
		For one thing it is a very realistic painting, and Hunt's image of a suffering goat is far too obtrusive: it commands our attention too much, distracting us from precisely those spiritual ideas it was supposed to convey.
		Landow further suggests that Hunt's religious paintings were typically far more complex, with little focus on a single iconographic symbol, like the suffering goat.
		The goat was painted on a trip to Israel and Hunt is wearing an Oriental costurme, with easel in hand.
	www.csudh.edu /dearhabermas/scapegoat.htm (2346 words)

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