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.  Related Paintings of 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 | the scapegoat | The Awakening Conscience | The School of Nature | A Converted British Family Sheltering |
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Hendrick Goltzius
1558-1617 Dutch Hendrik Goltzius (1558 - January 1, 1617), Dutch printmaker, draftsman, and painter, was born at Millebrecht, in the duchy of Julich. He was the leading Dutch engraver of the early Baroque period, noted for his sophisticated technique. After studying painting on glass for some years under his father, he was taught the use of the burin by Dirk Volkertszoon Coornhert, a Dutch engraver of mediocre attainment, whom he soon surpassed, but who retained his services for his own advantage. He was also employed by Philip Galle to engrave a set of prints of the history of Lucretia. At the age of 21 he married a widow somewhat advanced in years, whose money enabled him to establish at Haarlem an independent business; but his unpleasant relations with her so affected his health that he found it advisable in 1590 to make a tour through Germany to Italy, where he acquired an intense admiration for the works of Michelangelo, which led him to emulate that master in the grotesqueness and extravagance of his designs. He returned to Haarlem considerably improved in health, and laboured there at his art till his death. Goltzius' painting Lot and his daughters (Rijksmuseum Amsterdam) shows Lot being seduced by his two daughters. Sodom and Gomorrah are shown burning in the background, with Lot's wife who had turned into a pillar of salt, in front.Goltzius ought not to be judged chiefly by the works he valued most, his eccentric imitations of Michelangelo. His portraits, though mostly miniatures, are masterpieces of their kind, both on account of their exquisite finish, and as fine studies of individual character. Of his larger heads, the life-size portrait of himself is probably the most striking example. His masterpieces, so called from their being attempts to imitate the style of the old masters, have perhaps been overpraised. Goltzius brought to an unprecedented level the use of the "swelling line", where the burin is manipulated to make lines thicker or thinner to create a tonal effect from a distance. He also was a pioneer of "dot and lozenge" technique, where dots are placed in the middle of lozenge shaped spaces created by cross-hatching to further refine tonal shading. A self portraitHollstein credits 388 prints to him, with a further 574 by other printmakers after his designs. In his command of the burin Goltzius is said to rival that of Durer's; but his technical skill is not equally aided by higher artistic qualities. Even, however, his eccentricities and extravagances are greatly counterbalanced by the beauty and freedom of his execution. He made engravings of Bartholomeus Spranger's paintings, thus increasing the fame of the latter - and his own. Goltzius began painting at the age of forty-two; some of his paintings can be found in the imperial collection at Vienna. He also executed a few chiaroscuro woodcuts. He was the stepfather of engraver Jacob Matham.
Master of san Francesco
Tuscany ca.1350
Guido Cagnacci
(January 19, 1601 - 1663) was an Italian painter of the late-Baroque period, belonging to the Forle painting school and to the Bolognese School. Born in Santarcangelo di Romagna near Rimini, he died in Vienna in 1663. He worked in Rimini from 1627 to 1642. After that, he was in Forle, where absorbed the lesson of the Melozzo's painting. Prior to that he had been in Rome, in contact with Guercino, Guido Reni and Simon Vouet. He may have had an apprenticeship with the elderly Ludovico Carracci. His initial output includes many devotional subjects. But moving to Venice under the name of Guico Baldo Canlassi da Bologna, he renewed a friendship with Nicolas Regnier, and dedicated himself to private salon paintings, often depicting sensuous naked women from thigh upwards, including Lucretia, Cleopatra, and Mary Magdalene.This allies him to a strand of courtly painting, epitomized in Florence by Francesco Furini, Simone Pignoni and others. In 1650, he moved to Venice. In 1658, he traveled to Vienna, where he remained under patronage of the emperor Leopold I. His life was at times tempestuous, as characterized by his failed elopement (1628) with an aristocratic widow. Some contemporaries remark him as eccentric, unreliable and of doubtful morality. He is said to have enjoyed the company of cross-dressing models.