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home·artworks·The Light of the World
The Light of the World by William Holman Hunt

plate no. 5436

The Light of the World

William Holman Hunt, 1851

oil, canvasSymbolismreligious paintingfigurelanterntreesfoliagehaloreligious

From the record

Dimensions
125 cm high × 60 cm wide
Institution
Keble College
Location
Keble College
Inception
1853
Materials
oil paint, canvas
Movement
Pre-Raphaelite Brotherhood
  • Jesus Christ
  • man
  • lantern
  • door
  • Crown of thorns

Wikipedia article · Wikidata item Q1757920

from the sources

  • The painting depicts Jesus about to knock on an overgrown, long-unopened door, illustrating Revelation 3:20. en.wikipedia.org

    “representing the figure of Jesus preparing to knock on an overgrown and long-unopened door, illustrating Revelation 3:20”

  • The door in the painting has no handle, so it can only be opened from the inside. en.wikipedia.org

    “The door in the painting has no handle, and can therefore be opened only from the inside, representing "the obstinately shut mind".”

  • The first version was exhibited at the Royal Academy in 1854 and is now in the side chapel at Keble College, Oxford. en.wikipedia.org

    “It was exhibited at the Royal Academy in 1854 and is now in the side chapel at Keble College, Oxford.”

  • The first version is in oil on canvas and was completed in 1854. en.wikipedia.org

    “In oil on canvas, it was begun around 1849 or 1850 and completed in 1854.”

  • Martha Combe, widow of Thomas Combe, donated the painting to Keble College in the year after his death. en.wikipedia.org

    “The painting was donated to the college by Martha Combe, the widow of Thomas Combe, Printer to the University of Oxford, Tractarian, and a patron of the Pre-Raphaelites”

  • A second, smaller version is at Manchester City Art Gallery, which bought it in 1912. en.wikipedia.org

    “A second, smaller version of the work, painted by Hunt between 1851 and 1856, is on display at Manchester City Art Gallery, England, which purchased it in 1912.”

  • Christina Rossetti sat for the head of the figure after Hunt felt he had secured the male character in the head. en.wikipedia.org

    “What [the author of the article] says about Miss Christina Rossetti sitting for the head . . . is true,”

  • Engraved reproductions of the painting were widely hung in nurseries, schools and church buildings. en.wikipedia.org

    “Engraved reproductions were widely hung in nurseries, schools and church buildings.”

study guide

est. 30 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement of the figure, lantern, and surrounding elements.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber, paying attention to the areas of light and shadow.

  3. step 03

    Begin blocking in the main colors of the figure's robe, the lantern, and the background foliage.

  4. step 04

    Develop the details of the figure's face, hair, and clothing, using small brushes and careful observation.

  5. step 05

    Refine the light and shadow on the figure, using glazes and scumbles to create subtle transitions.

  6. step 06

    Add details to the lantern, including the intricate patterns and the glow of the light.

  7. step 07

    Paint the background foliage, using a variety of greens and browns to create depth and texture.

  8. step 08

    Add final details, such as the leaves, branches, and ground cover.

color palette

primary · yellow ochre · burnt umber · ivory black

secondary · cadmium red · sap green · titanium white

Achieve the subtle variations in skin tone by mixing yellow ochre, burnt umber, and titanium white. Create the glow of the lantern by layering yellows and oranges over a dark base.

techniques

  • ·glazing
  • ·scumbling
  • ·chiaroscuro
  • ·atmospheric perspective
  • ·rendering details

common pitfalls

  • →Overworking the details too early in the process.
  • →Failing to establish a strong value structure.
  • →Using colors that are too saturated.
  • →Ignoring the subtle variations in light and shadow.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·oil paints (yellow ochre, burnt umber, ivory black, cadmium red, sap green, titanium white)
  • ·linseed oil
  • ·turpentine
  • ·assorted brushes (round and flat)
  • ·palette
  • ·palette knife
  • ·rags

optional

  • ·retouch varnish
  • ·painting medium

Use high-quality oil paints for best results. Consider using a medium to thin the paints and speed up drying time.

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