True Painters of Light

William Holman Hunt painted The Light of The World in 1853, not too long after the founding of the Pre-Raphaelite Brotherhood in 1848.  He used model Elizabeth Siddal to paint Christ’s hair; Christina Rossetti was the model for the head.

 It was at this point that we see that Siddal was no ordinary model, for as Jan Marsh tells us in Pre-Raphaelite Sisterhood (no relation to this blog), “That she interested herself in the work in progress is shown by Hunt’s recollection of how, on one occasion, she went all the way to his studio in Chelsea on her own initiative, to tell him that she had seen in a religious bookshop a print that exactly resembled his picture.  Originality of composition was a great concern of professional painters but, happily for Hunt, his own visit to the bookshop revealed only slight similarities between print and painting.  He believed that Lizzie’s imagination had transposed his lantern and crown accessories on to a conventional image of the Saviour.  However it is clear from the anecdote that she took a personal interest in his work.”  

That is perhaps one of my favorite stories of Elizabeth Siddal, it perfectly illustrates that she cared more about art than the average artist’s model, she was concerned about Hunt’s work

 My reaction to this story is the same as my reaction to her posing in freezing water for Ophelia: Bravo Lizzie!

The painting has become an iconic symbol of Christianity; Christ stands knocking at a door with no handle. Standing in twilight, the only sources of light being his seven-sided lantern (from the seven churches mentioned in Revelation) and his halo.

I think that the lantern and the rays captured on Christ’s robe are one of the finest examples of painted light that exist:

The light in this next painting is subtle.  The Awakening Conscience by William Holman Hunt is explores the theme of the fallen woman  Look at the back wall and we can see a brilliant example of daylight as the mirror shows us the window’s reflection. On the floor, right hand corner, we can see the sunlight shining through that window on the floor.

It is not the same intense, concentrated glow as The Light of the World, but it is a stunning example of the light at dusk.  

Both The Awakening Conscience and The Light of the World were intended by the artist to be companion pieces.

A kept woman rises from her lover’s lap, her conscience awakening to the knock of Jesus, the Light of the World. The knock alerting her, letting her know that she can choose of different path without fear of judgment.

“The door of the human heart can only be opened from the inside.”

William Holman Hunt

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Another example of light I find beautiful is The Vale of Rest by John Everett Millais.

In the midst of sunset, two nuns appear.  The subject matter is mysterious and foreboding.  I find the image compelling, partly because I am not entirely sure what is going on, apart from one nun digging a grave and the other seems to be just watching.  But I know that it is beautiful and sad.

Artist Arthur Hughes painted the next two paintings by lantern light in order to achieve the right lighting.

The original tales of Jack O’Lantern were tales of the will o’the wisp, airy fairy will o’the wisp to lure us and enchant us, perhaps even entrap us.  I was thrilled this summer to see this will o’the wisp in the Disney/Pixar movie Brave

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Bringing light into a painting is a delicate endeavor and when it’s done well, we may not even notice. The paintings here present a particularly striking contrast of light and dark that results in a gorgeous and captivating glow.

“Walk while ye have light, lest the darkness come upon you.”

John Ruskin