Kinkade

My argument then is that Thomas Kinkade's attempt to sidestep modernity in behalf of nostalgia is a genuine attempt - however misguided - to return to a broader tradition of Western art, when art did not so much challenge as serve its public, when light itself, not yet dissected by Newton's prism, was holy. If it is true that light has become increasingly secularized, demystified, refracted into its parts in the Western tradition, we have yet a further explanation for Kinkade's fascination with the quality of pre- rather than post- modern light.

Luke Reinsma, "Thomas Kinkade's Paradise Lost" from Christian Scholars Review 34.2 (Winter 2005), pg. 243.