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Group Portrait of Mrs Davies,of Wormbridge Court,Hereford with Four of her Clark (mk37)
new8/william holman hunt,o.m.,r.w.s-426368.jpg
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Group_Portrait_of_Mrs_Davies,of_Wormbridge_Court,Hereford_with_Four_of_her_Clark_(mk37)
oil on canvas
30x24 3/4in
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The Plain of Rephaim from Mount Zion (mk46)
new2/william holman hunt,o.m.,r.w.s-956566.jpg
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The_Plain_of_Rephaim_from_Mount_Zion_(mk46)
1855
Watercolour and bodycolour
35.6x50.8cm
University fo Manchester,Whitworth Art Gallery
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william_holman_hunt,o.m.,r.w.s
1827-1910
English painter. He worked as an office clerk in London from 1839 to 1843, attending drawing classes at a mechanics' institute in the evenings and taking weekly lessons from the portrait painter Henry Rogers. Holman Hunt overcame parental opposition to his choice of career in 1843, and this determined attitude and dedication to art could be seen throughout his working life. In July 1844, at the third attempt, he entered the Royal Academy Schools. His earliest exhibited works, such as Little Nell and her Grandfather (exh. British Institution, 1846; Sheffield, Graves A.G.), reveal few traces of originality, but the reading of John Ruskin's Modern Painters in 1847 was of crucial importance to Holman Hunt's artistic development. It led him to abandon the ambitious Christ and the Two Marys (Adelaide, A.G. S. Australia) in early 1848, when he realized its traditional iconography would leave his contemporaries unmoved. His next major work, the Flight of Madeline and Porphyro during the Drunkenness Attending the Revelry (1848; London, Guildhall A.G.), from John Keats's 'Eve of St Agnes', though displaced into a medieval setting, dramatized an issue dear to contemporary poets and central to Holman Hunt's art: love and youthful idealism versus loyalty to one's family. His first mature painting, it focuses on a moment of psychological crisis in a cramped and shallow picture space.
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