In 1854 Holman Hunt, a member of the Pre-Raphaelite movement in art, exhibited his painting The Light of the World. The picture depicts the Savior standing in a bleak landscape surrounded by weeds, with a lighted lantern in his hand, knocking at a door that has no handle. It was accompanied by the text from Revelation 3:20, \"Behold, I stand at the door and knock, if any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me.\" The artist stated that he was also inspired by Romans 13:12, \"The night is far spent, the day is at hand: let us therefore cast off the works of darkness, and let us put on the armour of light.\"
Born in 1827 in London, England, Hunt entered the Royal Academy schools at age 16 and trained to be a painter. He began exhibiting his work in 1846, with little fanfare and to no particular acclaim. By 185,1 he was so discouraged that he decided he would give up art and become a farmer. However he persevered, working at night in an improvised ramshackle hut at Worcester Park Farm in Surry and in 1854 exhibited The Light of the World. Hunt described his determination to paint his masterpiece in this way, \"I painted the picture with what I thought, unworthy though I was, to be a Divine command, and not simply to be a good subject.\"
The work captured the public imagination and became the most talked about religious painting of the century. Fellow artist William Bell Scott described its effect, \"For the first time in England a picture became a subject of conversation and general interest from one end of the island to the other, and indeed continued so for many years.\" The painting was purchased by Mr. Combe and subsequently gifted by his wife to Keble College, Oxford. In 1904, Hunt completed a slightly altered second version of the painting that was purchased by Charles Booth, the founder of the Salvation Army. Booth arranged for a touring exhibition of the painting throughout the British Isles and in major cities in British colonies where it drew enormous crowds. When it returned to London it was hung in St. Paul's Cathedral.
Hunt went on to paint scripture history, allegorical works as well as Biblical figures and scenes of the holy land. The Light of the World encouraged devotion to Christ and stimulated other religious art in the second half of the Victorian century, and its popularity continues today.
There is much inspiration to be taken from this simple yet profound story, but let me suggest two compelling lessons. The first is to recognize the power of religious art to persuade, to inspire and to provoke. In very real ways Hunt's depiction speaks to the heart and the emotions, reminding us of Christ's perfect love for each of us. The firstborn of God the Father, the creator of the universe, the author of our salvation, and our personal Redeemer, longs to be a part of our lives, to comfort, counsel, guide, inspire and heal us. If he seems not to fulfill this role it is not because Christ has forsaken us but because we have rejected him. Fifty years after unveiling his painting Hunt described the symbolism of the door that remains closed as \"the obstinately shut mind.\" It is a telling identification.
Another potent lesson is found in Hunt's persisting to paint so as to \"obey the Divine command\" and complete his work. Hunt stands as a model: each of us needs be similarly committed to persevering in good works. More than ever the world needs examples of righteousness, whether it be living a virtuous life, or expressing devotion to the Savior in writing books, poetry, essays, in painting, sculpture, photography, dance, theater, or music that points others to Christ.
Each of us has the capacity to let Christ into our lives and to persevere in our devotion to the Savior. Each of us has the capacity to model the Savior and point others to Him. Hunt's influence was enormous and surely rewarded by the Savior. Who is to say our righteous influence, in its own way, will not be equally counted by the Savior?