Las óleos de todo William Holman Hunt
ID Image  Painting (From A to Z)       Details 
91100  
William Holman Hunt, A Converted British Family Sheltering
  		 A Converted British Family Sheltering   1850. Oil on canvas. Ashmolean Museum, Oxford, UK cyf
2247  
William Holman Hunt, A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids
  		 A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids  
88562  
William Holman Hunt, A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids, a scene of persecution by druids in ancient Britain p
  		 A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids, a scene of persecution by druids in ancient Britain p   1850. Oil on canvas.cjr
56230  
William Holman Hunt, a converted british family sheltering a christian priest from the persecution of the druids
  		 a converted british family sheltering a christian priest from the persecution of the druids   mk247 1850,oil on canvas,43.25x55.5 in,111x141 cm,asholean museum,oxford,uk
53885  
William Holman Hunt, Being English coasts
  		 Being English coasts   mk234 1852 43x58cm
86456  
William Holman Hunt, Charles Sumner portrait William Morris Hunt
  		 Charles Sumner portrait William Morris Hunt   Date c. 1870 cyf
28242  
William Holman Hunt, Claudio and Isabella
  		 Claudio and Isabella   1850-3 Oil on canvas 77.5 x 45.7 cm (30 1/2 x 18 in) Tate Gallery London (mk63)
75172  
William Holman Hunt, Claudio and Isabella
  		 Claudio and Isabella   Claudio and Isabella, painted in 1850 by English pre-Raphaelite painter William Holman Hunt (1827-1910). The original is a Oil on mahogany cjr
77008  
William Holman Hunt, Claudio and Isabella
  		 Claudio and Isabella   painted in 1850 by English pre-Raphaelite painter William Holman Hunt (1827-1910). The original is a Oil on mahogany, support: 758 x 426 x 10 mm frame: 997 x 668 x 160 mm and belongs to the Tate Collection in London. The image is in public domain because the work was painted in 1850 and Hunt died in 1910. cyf
90815  
William Holman Hunt, Claudio and Isabella
  		 Claudio and Isabella   1850(1850) Medium oil on mahogany Dimensions Height: 758 cm (298.4 in). Width: 426 cm (167.7 in). cyf
27896  
William Holman Hunt, Dante Gabriel Rossetti
  		 Dante Gabriel Rossetti   1853 Oil on wood 29.2 x 21.5 cm (11 1/2 x 81/2 in) Birmingham City Museum and Art Gallery (mk63)
53412  
William Holman Hunt, F.G.Stephens
  		 F.G.Stephens   mk231 1847 Oil on wood 20.3x17.5cm
26361  
William Holman Hunt, Festa at Fiesole
  		 Festa at Fiesole   mk49 1868 Watercolour
2251  
William Holman Hunt, Isabella and the Pot of Basil
  		 Isabella and the Pot of Basil  
81663  
William Holman Hunt, Isabella and the Pot of Basil
  		 Isabella and the Pot of Basil   Date 1867(1867) Medium Oil on canvas Dimensions 187 x 116 cm (73.6 x 45.7 in) cjr
84296  
William Holman Hunt, Isabella and the Pot of Basil
  		 Isabella and the Pot of Basil   Oil on canvas, 187 x 116 cm, Date 1867(1867) cjr
2240  
William Holman Hunt, May Morning on Magdalen Tower
  		 May Morning on Magdalen Tower  
2245  
William Holman Hunt, On English Coasts
  		 On English Coasts   1852 Tate Gallery, London
82476  
William Holman Hunt, On English Coasts.
  		 On English Coasts.   1852(1852) Medium Oil on canvas Dimensions 43 x 58,5 cm cyf
42764  
William Holman Hunt, Our English Coasts
  		 Our English Coasts   MK169 1852 oil Paint on cloth 43.2x58.2cm
53431  
William Holman Hunt, Our English Coasts
  		 Our English Coasts   mk231 1852 oil on canvas 17x23in
91841  
William Holman Hunt, Our English Coasts
  		 Our English Coasts   1852(1852) Medium oil on canvas cyf
32806  
William Holman Hunt, Our Englisth Coasts
  		 Our Englisth Coasts   mk81 1852
96766  
William Holman Hunt, Portrait of Fanny Holman Hunt
  		 Portrait of Fanny Holman Hunt   oil on canvas, private collection Date 1866-67 cyf
94989  
William Holman Hunt, Rienzi vowing to obtain justice for the death of his young brother slain in a skirmish between the Colonna and the Orsini factions
  		 Rienzi vowing to obtain justice for the death of his young brother slain in a skirmish between the Colonna and the Orsini factions   1849 Type oil on canvas Dimensions 86.3 cm x 122 cm cyf
28035  
William Holman Hunt, Rienzi Vowing to Obtain Justice for the Death of his Young Brother,Slain in a Skirmish Between the Colonna and Orsini Factions
  		 Rienzi Vowing to Obtain Justice for the Death of his Young Brother,Slain in a Skirmish Between the Colonna and Orsini Factions   1848-9 Oil on canvas 86.3 x 122 cm (34 x 48in) Private collection (mk63)
27057  
William Holman Hunt, Self-Portrait
  		 Self-Portrait   mk52 1875 Oil on canvas 103.5x73cm Uffizi,Florence
88472  
William Holman Hunt, Selfportrait
  		 Selfportrait   oil on canvas, 103.5 cm x 73 cm 1867
25227  
William Holman Hunt, The Afterglow in Egypt (mk32)
  		 The Afterglow in Egypt (mk32)   (Dernieres lueurs du couchant en Egypte) huile sur toile Monogrammee 82 x 38 cm 1860-63 Ashmolean Museum Oxford
2244  
William Holman Hunt, The Awakening Conscience
  		 The Awakening Conscience   1853
40709  
William Holman Hunt, The Awakening Conscience
  		 The Awakening Conscience   mk156 1853 Oil on canvas 76x55cm
53429  
William Holman Hunt, The Awakening Conscience
  		 The Awakening Conscience   mk231 30x22in 1854 Oil on canvas
56234  
William Holman Hunt, the awakening conscience
  		 the awakening conscience   mk247 1853,oil on canvas,30x22 in,76x56 cm,tate collection,london,uk
95001  
William Holman Hunt, The Finding of the Saviour in the Temple
  		 The Finding of the Saviour in the Temple   1860 Type Oil on canvas cyf
34009  
William Holman Hunt, The Hireling Shepherd
  		 The Hireling Shepherd   mk87 1851 Oil on canvas 76.4x109.5cm Manchester,City of Manchester Art Gallery
53427  
William Holman Hunt, The Hireling Shepherd
  		 The Hireling Shepherd   mk231 1851 Oil on canvas 76.2x107.2cm
21548  
William Holman Hunt, The Hireling Shepherd (mk09)
  		 The Hireling Shepherd (mk09)   1851 Oil on canvas,76.4 x 109.5 cm Manchester,City of Manchester Art Gallery
2241  
William Holman Hunt, The Lady of Shalott
  		 The Lady of Shalott  
2242  
William Holman Hunt, The Lantern Maker's Courtship
  		 The Lantern Maker's Courtship  
2246  
William Holman Hunt, The Light of the World
  		 The Light of the World   1851-53
28037  
William Holman Hunt, The Light of the World
  		 The Light of the World   1851-3 Oil on canvas 125.5 x 59.8 cm (49 1/2 x 231/2 in) Keble College,Oxford (mk63)
53428  
William Holman Hunt, The Light of the World
  		 The Light of the World   mk231 1854 Oil on canvas 105.4x58.9cm
68407  
William Holman Hunt, The Light of the World
  		 The Light of the World   1853-54 Oil on canvas on wood 125 x 60 cm
68447  
William Holman Hunt, The Light of the World
  		 The Light of the World   Technique Oil on canvas on wood Dimensions 125 x 60 cm
27984  
William Holman Hunt, The Plain of Esdraelon from the Heights above Nazareth
  		 The Plain of Esdraelon from the Heights above Nazareth   1877 Oil on canvas 41 x 75 cm (16 1/8 x 29 1/2in) Ashmolean Museum,Oxford (mk63)
2243  
William Holman Hunt, The Scapegoat
  		 The Scapegoat   1854 Lady Lever Art Gallery
40019  
William Holman Hunt, The Scapegoat
  		 The Scapegoat   mk155 1854-1858 Oil on canvas 33.7x45.9cm
56238  
William Holman Hunt, the scapegoat
  		 the scapegoat   mk247 1854 to 55,oil on canvas,13.25x18 in,34x46 cm,manchester art gallery,uk
88719  
William Holman Hunt, The Scapegoat
  		 The Scapegoat   1854(1854) Medium Oil on canvas cyf
96284  
William Holman Hunt, The School of Nature
  		 The School of Nature   Oil on panel Dimensions 122.5 x 982 cm cyf
53436  
William Holman Hunt, The Shadow of Death
  		 The Shadow of Death   mk231 1870-73 Oil on canvas 212x167.6cm
95061  
William Holman Hunt, The Shadow of Death
  		 The Shadow of Death   1873 Type Oil on canvas Dimensions 214.2 cm x 168.2 cm cyf
40018  
William Holman Hunt, The Sphinx
  		 The Sphinx   mk155 1854 Watercolor 25.4x35.5cmn
89068  
William Holman Hunt, The Triumph of the Innocents
  		 The Triumph of the Innocents   c. 1883(1883) Medium oil on canvas Dimensions Height: 1,562 cm (615 in). Width: 254 cm (100 in). cjr
48677  
William Holman Hunt, Unknown work
  		 Unknown work   mk191 1853 Oil on canvas 76.2x55.8cm
95942  
William Holman Hunt, Unsere englische Kuste
  		 Unsere englische Kuste   1852(1852) Medium oil on canvas Dimensions 43 x 58,5 cm cyf
William Holman Hunt
1827-1910 British William Holman Hunt Galleries Hunt's intended middle name was "Hobman", which he disliked intensely. He chose to call himself Holman when he discovered that his middle name had been misspelled this way after a clerical error at his baptism at the church of Saint Mary the Virgin, Ewell.[1] Though his surname is "Hunt", his fame in later life led to the inclusion of his middle name as part of his surname, in the hyphenated form "Holman-Hunt", by which his children were known. After eventually entering the Royal Academy art schools, having initially been rejected, Hunt rebelled against the influence of its founder Sir Joshua Reynolds. He formed the Pre-Raphaelite movement in 1848, after meeting the poet and artist Dante Gabriel Rossetti. Along with John Everett Millais they sought to revitalise art by emphasising the detailed observation of the natural world in a spirit of quasi-religious devotion to truth. This religious approach was influenced by the spiritual qualities of medieval art, in opposition to the alleged rationalism of the Renaissance embodied by Raphael. He had many pupils including Robert Braithwaite Martineau (best known for his work "Last Days in the Old Home") who was a moderately successful painter although he died young. The Hireling Shepherd, 1851Hunt's works were not initially successful, and were widely attacked in the art press for their alleged clumsiness and ugliness. He achieved some early note for his intensely naturalistic scenes of modern rural and urban life, such as The Hireling Shepherd and The Awakening Conscience. However, it was with his religious paintings that he became famous, initially The Light of the World (now in the chapel at Keble College, Oxford, with a later copy in St Paul's Cathedral), having toured the world. After travelling to the Holy Land in search of accurate topographical and ethnographical material for further religious works, Hunt painted The Scapegoat, The Finding of the Saviour in the Temple and The Shadow of Death, along with many landscapes of the region. Hunt also painted many works based on poems, such as Isabella and The Lady of Shalott. All these paintings were notable for their great attention to detail, their hard vivid colour and their elaborate symbolism. These features were influenced by the writings of John Ruskin and Thomas Carlyle, according to whom the world itself should be read as a system of visual signs. For Hunt it was the duty of the artist to reveal the correspondence between sign and fact. Out of all the members of the Pre-Raphaelite Brotherhood Hunt remained most true to their ideals throughout his career. He eventually had to give up painting because failing eyesight meant that he could not get the level of quality that he wanted. His last major work, The Lady of Shalott, was completed with the help of an assistant (Edward Robert Hughes). Hunt married twice. After a failed engagement to his model Annie Miller, he married Fanny Waugh, who later modelled for the figure of Isabella. When she died in childbirth in Italy he sculpted her tomb up at Fiesole, having it brought down to the English Cemetery, beside the tomb of Elizabeth Barrett Browning. His second wife, Edith, was Fanny's sister. At this time it was illegal in Britain to marry one's deceased wife's sister, so Hunt was forced to travel abroad to marry her. This led to a serious breach with other family members, notably his former Pre-Raphaelite colleague Thomas Woolner, who had married Fanny and Edith's third sister Alice. Hunt's autobiography Pre-Raphaelitism and the Pre-Raphaelite Brotherhood (1905) was written to correct other literature about the origins of the Brotherhood, which in his view did not adequately recognise his own contribution. Many of his late writings are attempts to control the interpretation of his work. In 1905, he was appointed to the Order of Merit by King Edward VII. At the end of his life he lived in Sonning-on-Thames.



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