All the oil paintings of William Holman Hunt

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ID	Image	Painting(From A to Z)	Details
91100		A Converted British Family Sheltering	1850. Oil on canvas. Ashmolean Museum, Oxford, UK cyf
2247		A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids
88562		A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids, a scene of persecution by druids in ancient Britain p	1850. Oil on canvas.cjr
56230		a converted british family sheltering a christian priest from the persecution of the druids	mk247 1850,oil on canvas,43.25x55.5 in,111x141 cm,asholean museum,oxford,uk
53885		Being English coasts	mk234 1852 43x58cm
86456		Charles Sumner portrait William Morris Hunt	Date c. 1870 cyf
28242		Claudio and Isabella	1850-3 Oil on canvas 77.5 x 45.7 cm (30 1/2 x 18 in) Tate Gallery London (mk63)
75172		Claudio and Isabella	Claudio and Isabella, painted in 1850 by English pre-Raphaelite painter William Holman Hunt (1827-1910). The original is a Oil on mahogany cjr
77008		Claudio and Isabella	painted in 1850 by English pre-Raphaelite painter William Holman Hunt (1827-1910). The original is a Oil on mahogany, support: 758 x 426 x 10 mm frame: 997 x 668 x 160 mm and belongs to the Tate Collection in London. The image is in public domain because the work was painted in 1850 and Hunt died in 1910. cyf
90815		Claudio and Isabella	1850(1850) Medium oil on mahogany Dimensions Height: 758 cm (298.4 in). Width: 426 cm (167.7 in). cyf
27896		Dante Gabriel Rossetti	1853 Oil on wood 29.2 x 21.5 cm (11 1/2 x 81/2 in) Birmingham City Museum and Art Gallery (mk63)
53412		F.G.Stephens	mk231 1847 Oil on wood 20.3x17.5cm
26361		Festa at Fiesole	mk49 1868 Watercolour
2251		Isabella and the Pot of Basil
81663		Isabella and the Pot of Basil	Date 1867(1867) Medium Oil on canvas Dimensions 187 x 116 cm (73.6 x 45.7 in) cjr
84296		Isabella and the Pot of Basil	Oil on canvas, 187 x 116 cm, Date 1867(1867) cjr
2240		May Morning on Magdalen Tower
2245		On English Coasts	1852 Tate Gallery, London
82476		On English Coasts.	1852(1852) Medium Oil on canvas Dimensions 43 x 58,5 cm cyf
42764		Our English Coasts	MK169 1852 oil Paint on cloth 43.2x58.2cm
53431		Our English Coasts	mk231 1852 oil on canvas 17x23in
91841		Our English Coasts	1852(1852) Medium oil on canvas cyf
32806		Our Englisth Coasts	mk81 1852
96766		Portrait of Fanny Holman Hunt	oil on canvas, private collection Date 1866-67 cyf
94989		Rienzi vowing to obtain justice for the death of his young brother slain in a skirmish between the Colonna and the Orsini factions	1849 Type oil on canvas Dimensions 86.3 cm x 122 cm cyf
28035		Rienzi Vowing to Obtain Justice for the Death of his Young Brother,Slain in a Skirmish Between the Colonna and Orsini Factions	1848-9 Oil on canvas 86.3 x 122 cm (34 x 48in) Private collection (mk63)
27057		Self-Portrait	mk52 1875 Oil on canvas 103.5x73cm Uffizi,Florence
88472		Selfportrait	oil on canvas, 103.5 cm x 73 cm 1867
25227		The Afterglow in Egypt (mk32)	(Dernieres lueurs du couchant en Egypte) huile sur toile Monogrammee 82 x 38 cm 1860-63 Ashmolean Museum Oxford
2244		The Awakening Conscience	1853
40709		The Awakening Conscience	mk156 1853 Oil on canvas 76x55cm
53429		The Awakening Conscience	mk231 30x22in 1854 Oil on canvas
56234		the awakening conscience	mk247 1853,oil on canvas,30x22 in,76x56 cm,tate collection,london,uk
95001		The Finding of the Saviour in the Temple	1860 Type Oil on canvas cyf
34009		The Hireling Shepherd	mk87 1851 Oil on canvas 76.4x109.5cm Manchester,City of Manchester Art Gallery
53427		The Hireling Shepherd	mk231 1851 Oil on canvas 76.2x107.2cm
21548		The Hireling Shepherd (mk09)	1851 Oil on canvas,76.4 x 109.5 cm Manchester,City of Manchester Art Gallery
2241		The Lady of Shalott
2242		The Lantern Maker's Courtship
2246		The Light of the World	1851-53
28037		The Light of the World	1851-3 Oil on canvas 125.5 x 59.8 cm (49 1/2 x 231/2 in) Keble College,Oxford (mk63)
53428		The Light of the World	mk231 1854 Oil on canvas 105.4x58.9cm
68407		The Light of the World	1853-54 Oil on canvas on wood 125 x 60 cm
68447		The Light of the World	Technique Oil on canvas on wood Dimensions 125 x 60 cm
27984		The Plain of Esdraelon from the Heights above Nazareth	1877 Oil on canvas 41 x 75 cm (16 1/8 x 29 1/2in) Ashmolean Museum,Oxford (mk63)
2243		The Scapegoat	1854 Lady Lever Art Gallery
40019		The Scapegoat	mk155 1854-1858 Oil on canvas 33.7x45.9cm
56238		the scapegoat	mk247 1854 to 55,oil on canvas,13.25x18 in,34x46 cm,manchester art gallery,uk
88719		The Scapegoat	1854(1854) Medium Oil on canvas cyf
96284		The School of Nature	Oil on panel Dimensions 122.5 x 982 cm cyf
53436		The Shadow of Death	mk231 1870-73 Oil on canvas 212x167.6cm
95061		The Shadow of Death	1873 Type Oil on canvas Dimensions 214.2 cm x 168.2 cm cyf
40018		The Sphinx	mk155 1854 Watercolor 25.4x35.5cmn
89068		The Triumph of the Innocents	c. 1883(1883) Medium oil on canvas Dimensions Height: 1,562 cm (615 in). Width: 254 cm (100 in). cjr
48677		Unknown work	mk191 1853 Oil on canvas 76.2x55.8cm
95942		Unsere englische Kuste	1852(1852) Medium oil on canvas Dimensions 43 x 58,5 cm cyf

William Holman Hunt
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.