William Holman Hunt's "The Scapegoat": Rite of Forgiveness/Transference of Blame Author(s): Albert Boime Source: The Art Bulletin, Vol. 84, No. 1 (Mar., 2002), pp. 94-114 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3177254 . Accessed: 22/08/2013 07:18 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org This content downloaded from 129.68.65.223 on Thu, 22 Aug 2013 07:18:16 AM All use subject to JSTOR Terms and Conditions William Holman Hunt's The Scapegoat: Rite of Forgiveness/Transference of Blame AlbertBoime By his own admission, the eminent Pre-Raphaelite painter behind them and, consistent with the East-West binarism, William Holman Hunt suffered from an "Oriental mania," interpreted Middle Eastern life from a standpoint of domi- and his justification for his several trips to the Holy Land fit nance that found its justification through standard Western the paradigm of the Orientalist explorer-adventurer-author representation. characterized by Edward Said in his 1978 foundational text, Hunt perceived Jerusalem's multicultural society as the Orientalism.1This is vividly glimpsed in a self-portrait of 1867 most "accursed" in the world and regarded the local inhab- he donated to the Galleria degli Uffizi, depicting himself in itants in the light of conventional racist tropes of difference the act of painting while wearing Middle Eastern costume and otherness.