
plate no. 5436
William Holman Hunt, 1851
From the record
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.”
approach — 8 steps
Sketch the basic composition, focusing on the placement of the figure, lantern, and surrounding elements.
Establish the overall value structure with a thin wash of burnt umber, paying attention to the areas of light and shadow.
Begin blocking in the main colors of the figure's robe, the lantern, and the background foliage.
Develop the details of the figure's face, hair, and clothing, using small brushes and careful observation.
Refine the light and shadow on the figure, using glazes and scumbles to create subtle transitions.
Add details to the lantern, including the intricate patterns and the glow of the light.
Paint the background foliage, using a variety of greens and browns to create depth and texture.
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
common pitfalls
surface · stretched canvas
required
optional
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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