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قراءة كتاب Holman Hunt
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HOLMAN HUNT
1827-1910
Holman Hunt
BY MARY E. COLERIDGE
ILLUSTRATED WITH EIGHT
REPRODUCTIONS IN COLOUR
LONDON: T. C. & E. C. JACK, LTD.
NEW YORK: FREDERICK A. STOKES CO.
CONTENTS
| Page | ||
| I. | The Painter’s Youth (1827-1854) | 11 |
| II. | The East | 48 |
| III. | The Subject Pictures | 58 |
| IV. | Portraits and Other Works | 74 |
LIST OF ILLUSTRATIONS
| Plate | ||
| I. | Portrait of Holman Hunt at the age of Fifteen | Frontispiece |
| By kind permission of the painter | Page | |
| II. | The Two Gentlemen of Verona | 14 |
| From the Birmingham Art Gallery | ||
| III. | Isabella and the Pot of Basil | 24 |
| From the painting in the possession of Mrs. James Hall | ||
| IV. | The Light of the World | 34 |
| From the painting in Keble College Chapel, Oxford | ||
| V. | The Scapegoat | 40 |
| From the painting in possession of Sir Cuthbert Quilter, Bart. | ||
| VI. | The Triumph of the Innocents | 50 |
| From the painting lent by the painter to the Walker Art Gallery, Liverpool | ||
| VII. | The Hireling Shepherd | 60 |
| From the painting in the Manchester Art Gallery | ||
| VIII. | May Morning | 70 |
| By kind permission of the painter |
I
THE PAINTER’S YOUTH (1827-1854)
“Art is too tedious an employment for any not infatuated with it.”
“The only artists I ever knew who achieved work of note in any sense whatever, went first through a steady training of several years and afterwards entered their studios with as unwearying a punctuality as business men attend their offices, worked longer hours than these, and had fewer holidays, partly because of their love for art, but also because of their deep sense of the utter uselessness of grappling with the difficulties besetting the happy issue of each contest, except at close and unflinching quarters.”
“I have many times in my studio come to such a pass of humiliation that I have felt that there was no one thing that I had thought I could do thoroughly in which I was not altogether incapable.” W. H. H.
Upon a wintry afternoon in London, in the year 1834, a little boy of six years old was standing on the stairs of a poor artist’s house, watching, through a window in the wall, the marvellous deeds of the man within. The man within was painting the “Burning of the Houses of Parliament.” Scarlet and gold! Scarlet and gold! He used them up so quickly that he had to grind and prepare more and more. Every time he ground with the muller on the slab a fresh supply of vermilion and chrome yellow, there was a fresh flare up of the conflagration, another outburst of applause from the little boy. Meantime, the