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WILLIAM
HOLMAN HUNT This painting had been chosen as a relatively early example of the work of the Pre-Raphaelite Brotherhood which was founded in 1848 and of which Holman Hunt was a founder member. Other members included John Everett Millais and Dante Gabriel Rossetti. The Pre-Raphaelites. as their name suggests, tried to emulate works of the Quattrocento, but. to achieve their results. they used the newest possible materials. For example. Hunt used recently introduced pig-ments such as emerald green, which had first been prepared in 1814. The group discussed the kind of painting which they felt would revolutionize their art and also shared their experiences with materials and techniques. The members of the group later diverged, but Hunt stayed closest to their original aim of rejecting the idealization of nature associated with Raphael and his successors and returning to a more immediate and realistic representa-tion of the world, combined with a rather romantic view of medievalism. Technically, Hunt was both well-informed and cautious,
comparing his use of materials with those of the Old Masters. Hunt placed
great importance on the permanence of his support, medium and pigments,
and rejected those which he knew to be faulty. For example, he avoided
the mistake of using bitumen as a brown, which has caused many nineteenth
century paintings to deteriorate. He followed closely the experiments
of the chemist George Field, who was concerned with the permanence of
colors. Hunt used a rich and relatively thick medium made of poppy oil
and copal resin. Hunt found that this medium was easy to work and did
not contract excessively on drying: it remained tough and flexible even
when applied thickly. This indicates the quality Hunt desired in an oil
painting, which is illustrated by his criticism of the thinness of Gainsborough's
paint, which gave an effect 'too like that produced by a watercolor to
be satisfactory in a large painting'. The Awakening Conscience is typical
of Pre-Raphaelite work in its moral emphasis and realistically depicted
detail. The lavishness of the room and of the woman's dress and jewelry
reflect the material rewards of her sin in becoming the man's mistress.
The gilt frame is an integral part of the effect of tonal and textural
richness which Hunt wished to create. The picture illustrates a moral in a heavily emphasized
way. The woman, who wears no wedding ring, is the man's mistress. She
is shown at the moment of realizing her sin. Her face was originally more
contorted, but Hunt was persuaded to change it as the owner of the work
found it too distressing. Hunt later regretted making the change. The
alteration, however, cannot be detected in the picture. The painting is
realistic in detail but not in terms of proportion or perspective. All
the important objects are in focus and given equal priority. The draftsmanship
appears uncomfortable when viewed from a distance. Hunt had problems in
placing the man's arm, the reflections in the mirror are confusing and
the folds on the woman's dress area little contrived. At the end, a layer
of mastic varnish was applied to the whole area, except the face; this
led to the paint cracking. This area was later retouched. Nowhere is the
ground exposed. It lends intensity to the strongly colored areas, but
the light highlights are completely opaque. This technique combines well
with the versatile medium and bright pigments which Hunt used.
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