The History of Modern Painting volume 2

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A petty, pedantic fidelity to nature injures the total effect, and the hard colours — pungent green, vivid }'ellow, glaring blue, and glowing red — which Holman Hunt places immediately beside each other, give his pictures something brusque, barbaric, and jarring. But as a reaction against a system of painting by routine which had become mannered, such truth without all compromise, such painstaking effort at the utmost possible Holman Hunt: "The Light ok the World. " {By prniiissiott of Mr. L. H.... Lcjcvrc, the owner of the copyright. ) 578 MODERX PAIXTIXG fidelity to nature, was in its verj- harshness of epoch-making significance.
With regard, also, to the transcendental purport of his pictures Holman Hunt is perhaps the most genuine of the group. In the whole history of art there are no religious pictures in which uncompromising naturalism has made so remarkable an alliance with a pietistic depth of ideas. The first, which he sent to the exhibition of 1854, "The Light of the World, " represents Christ wandering through the night in a gold-embroidered mantle, with a lantern in His hand, like a Di\ine Diogenes seeking men, while the moon forms a halo round His head.


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