Photo via Wikimedia commons, public domain

William Blake, the prolific English poet, painter, and printmaker, is widely regarded as a pioneering figure of the Romantic era. Born in 1757, Blake's artistic journey was marked by a profound and mystical connection to the world around him, one that transcended the boundaries between the real and the supernatural.

From a young age, Blake experienced vivid, visionary encounters that shaped the extraordinary imaginative landscapes of his work. He firmly believed that during the creative process, he was in the direct presence of the figures and scenes he portrayed, almost as if they were tangible entities. This unwavering conviction allowed Blake to seamlessly blend the realms of the material and the ethereal, challenging the conventions of his time.

Blake’s fascination with esoteric and spiritual themes manifested in the creation of his own unique mythological framework expressed through epic poems and aphoristic writings. His visual artworks, however, stand as a testament to his unparalleled skill in translating these transcendent ideas into striking, visually captivating forms.

As a teenager, from 1772 to 1779, Blake was apprenticed to the renowned engraver James Basire, where he honed his technical skills in printmaking. However, his true passion lay in painting, an area in which he was largely self-taught. Blake immersed himself in studying the Gothic ornaments and royal tombs of Westminster Abbey while also exploring the artistic traditions of Persia, Egypt, and India.

Blake also developed his own graphic technique, known as relief etching, which allowed for the combined printing of text and illustrations. He prepared copper plates so that handwritten mirrored text and drawing outlines remained raised while the background was etched away with acid. After printing, he would hand-color the engravings. His use of archaic calligraphy, reminiscent of medieval illuminated manuscripts, added a distinctive character to his work. This technique was used to illustrate his most famous works, including “Songs of Innocence and of Experience,” and “The Marriage of Heaven and Hell.”

The rationalism and materialism of the Enlightenment era did not favor the deeply spiritual Blake. His mystical visions, in which he claimed to see divine and infernal beings, were dismissed by his contemporaries as mere fantasies. Likewise, his interests in the occult, alchemy, and spiritualism were not taken seriously. Yet, for Blake, these pursuits were part of his quest for proof of eternity and access to ancient wisdom that humanity had lost.

Under the influence of mystical inspiration, Blake wrote prophetic poetry for both Europe and the world. Despite his formal studies, he sought to break away from rigid academic norms and attacked the aesthetic principles of his time. He also refused to conform to Enlightenment tastes.

While he accepted commissions to illustrate books, his unconventional style often led to the rejection of his work. Some saw his art as too extravagant and bold, others as primitive and outdated. Blake viewed formal education as unnecessary but did not reject the value of knowledge itself—he simply had a different perspective on how one should pursue it.

William Blake remains one of the most enigmatic and visionary artists in history. His work, once misunderstood and dismissed, is now recognized for its depth, originality, and timeless relevance. He was not only a poet and an artist but a true prophet of imagination, whose creations continue to inspire and challenge the boundaries of art and literature.

1) Worldview

“The world of imagination is the world of eternity. It is the divine bosom into which we shall all go after death of the vegetative body.”

Blake developed his own mythology, morality, and cosmology. He created original concepts regarding human history, good and evil, creation, and salvation. In “The Book of Urizen” and “The Book of Los,” he introduced two opposing deities: Urizen, representing authority and rigid moral laws, and Orc, symbolizing rebellion, freedom, and creativity. For Blake, evil was the work of Urizen—the stern god of laws—while goodness was linked to Orc, the liberating and gentle creative spirit.

Blake saw the creation of the world as incomplete, dominated by reason, and described Urizen as the flawed creator in “The Book of Urizen,“ a reinterpretation of Genesis. His mystical-prophetic works portray the renewal of innocent and good humanity, which he saw as imprisoned by authority, religion, and societal norms. He also developed a unique symbolic system, inspired by Neoplatonic ideas that viewed the physical world as a reflection of the spiritual realm. As a result, his prophetic books could only be truly understood by those immersed in the mystical world.

Among Blake's most significant works, we find powerful visual expressions of his philosophical opposition to the scientific rationalism of his time. These works not only demonstrate his technical mastery but also serve as windows into his complex worldview, where science and spirituality, reason, and imagination engage in a perpetual dialogue. It is through this lens that we can begin to understand how Blake's artistic vision stands as a deliberate counterpoint to the prevailing intellectual currents of his era.

A direct reference to Urizen is “Newton,” a work dedicated to expressing opposition to the Enlightenment. Newton's theory of optics particularly contradicted the artist's assertion, which distinguished between the vision of the "vegetative eye" and spiritual vision. The deistic view of God as a distant creator who played no role in everyday affairs was anathema to Blake, who advocated for regular experience of the spiritual nature of vision. He contrasted his "fourfold vision" with Newton's "single vision," whose scientific materialism he considered unfounded.

William Blake, *Newton*, 1795-1805, Collection Tate Britain via Wikimedia commons, public domain

In William Blake’s “Newton,” the renowned scientist is depicted in action—sitting on a rocky slope covered with algae, presumably at the bottom of the sea. His attention is completely absorbed in measuring with a mathematical instrument on a scroll. The left side of the composition, rich with rocky vegetation, starkly contrasts with the deep navy blue of the sea depths, suggesting a tension between the natural, organic world and the cold, measured realm of scientific inquiry. This juxtaposition visually represents Blake's belief that Newtonian science reduced the vibrant, multidimensional universe to mere mechanical principles.

The measuring instrument that Newton is using in the composition is a smaller version of the one depicted in “The Book of Urizen,” further reinforcing the connection between these works. This parallel deliberately positions Newton as a modern embodiment of Urizen—both figures attempting to impose rigid mathematical order on the universe, both limiting creation to the measurable and rational. The repetition of this symbolic tool emphasizes Blake's critique that scientific rationalism, like Urizen's flawed creation, produces an incomplete understanding of reality by neglecting the spiritual dimension.

Blake drew inspiration from master artists, particularly admiring Michelangelo. He also appreciated Greek art, though he criticized its materialism. This influence is strikingly evident in his portrayal of Newton, whose muscular, idealized physique and poised posture directly evoke classical sculpture. However, Blake employs this classical aesthetic with profound irony—while Greek and Renaissance art often celebrated human potential and divine inspiration, here, it serves to illustrate intellectual limitation rather than greatness.

Newton's body, though rendered with the grandeur of Michelangelo’s heroic nudes, is hunched and confined, his entire being absorbed in the act of measurement. His gaze remains fixed downward, consumed by mathematical calculations, blind to the organic, dynamic world that surrounds him.

The deep contrast between his meticulously calculated scroll and the textured, living environment suggests a stark division between mechanical intellect and spiritual vision. By placing Newton at the bottom of the sea, Blake symbolically submerges him in the depths of materialism, reinforcing the notion that empirical science, despite its intellectual rigor, remains fundamentally constrained by its refusal to acknowledge the infinite and the transcendent.

2) Artworks

Throughout his career, Blake sought to free himself from the constraints of time, space, and materiality. However, he remained fundamentally a creator of his own world. He both illustrated his own poetry and found inspiration in it for his paintings and engravings.

His graphic style gradually shed ornamental elements in favor of muscular, agile, and luminous figures. He strived to represent his mystical visions with great precision, creating a visual language as unique and revolutionary as his written work.

In 1826, Blake received a commission from John Linnell to illustrate Dante's Divine Comedy. He created 102 sheets in total, but due to illness, he was only able to complete seven of them. One of the most striking illustrations, "The Whirlwind of Lovers," is a visual interpretation of Canto V, depicting one of the most powerful and emotionally charged scenes from Dante's masterpiece.

William Blake, *The Lovers Whirlwind*, 1824-1827 via Wikimedia commons, public domain

This piece illustrates the tragic fate of Francesca da Rimini and Paolo Malatesta, lovers condemned to the second circle of Hell for their adulterous passion. In Dante’s vision, souls guilty of lust are eternally swept through the air by violent, unrelenting winds—a fitting punishment for those who allowed themselves to be ruled by desire rather than reason. Blake captures this torment with masterful intensity, his composition swirling with movement and emotion.

Francesca and Paolo are shown floating together in the storm, holding onto each other as they are carried away. Unlike some traditional depictions of Dante’s Hell, Blake does not focus on their suffering. Instead, he presents them with tenderness, making them appear almost peaceful despite their fate. Their bodies are drawn with soft, flowing lines that contrast with the chaotic wind around them. This reflects Blake’s unique approach—rather than simply illustrating punishment, he explores the deeper emotions of the scene.

The storm itself is more than just a physical force; it also represents uncontrolled passion, something that neither Francesca nor Paolo could resist. Below them, Dante is shown fainting in shock after hearing their tragic story, highlighting how powerful and heartbreaking their love was.

Blake’s artistic style is clearly visible in this work. He relied on strong outlines and elegant contours to create movement and energy in his figures. Instead of using dramatic shadows like many artists of his time, he preferred fine lines and delicate details, making his characters look almost otherworldly.

This independent approach is also evident in his religious works. One such example is "The Creation of Eve" (1803), sometimes referred to as "The Transfer of Eve to Adam." While created years before his Dante illustrations, this piece similarly demonstrates Blake's unique reimagining of traditional religious themes.

In this watercolor created for his patron Thomas Butts, Blake reinterprets the biblical moment of Eve's creation. Rather than depicting Eve emerging from Adam's rib as traditionally portrayed, Blake presents a more ceremonial and dignified scene. God stands between the first parents, holding both their hands as if preparing to join them together—reminiscent of a wedding ceremony. Adam rises from a bed of oak leaves, while God guides Eve from ethereal blue clouds above.

The composition is rich with symbolic elements: a grapevine winds around the tree trunk, representing the marital union about to take place. Exotic birds in vibrant red and blue hues perch nearby, symbolizing newly created souls in this paradise. The enormous oak leaf from which Adam rises subtly foreshadows humanity's future suffering, while in the lower right corner, a lion dozes peacefully near lambs—signifying the harmony of the pre-fallen world where natural enemies coexist without violence.

William Blake, Angel of the Divine Presence Bringing Eve to Adam (The Creation of Eve- "And She Shall be Called Woman) (recto); Sketch for the same (verso), 1803 via Wikimedia commons, public domain

Blake’s portrayal transforms the biblical creation story into something more profound than mere illustration. He elevates the creation of Eve into a solemn covenant between equals, with God serving as both creator and officiant. This interpretation reflects Blake’s progressive views on the relationship between men and women, suggesting a partnership rather than subordination.

A similar depth of emotion and symbolism is evident in one of Blake's final works, "The Body of Abel Found by Adam and Eve" (c. 1826). Created around the same time as his Dante illustrations, this powerful piece represents Blake's continued engagement with themes of human suffering and divine justice near the end of his life.

Wiliam Blake, *The Body of Abel Found by Adam and Eve*, c. 1826 r., Tate Gallery, via Wikimedia commons, public domain

In this emotionally charged scene, Blake captures the moment when Adam and Eve discover the body of their murdered son. The composition presents a tableau of grief and horror: Eve, overcome with maternal anguish, bends over Abel's lifeless form, cradling his head in a gesture of tender despair. Her posture embodies the raw, visceral nature of parental loss. Adam stands nearby, his arms outstretched in helpless dismay, his face contorted with shock and horror as he confronts this first experience of death.

Meanwhile, Cain flees the scene of his crime, yet Blake portrays him not as a monstrous villain but as an idealized male figure reminiscent of classical sculpture—reflecting Blake's fascination with Renaissance masters and antiquity that we've observed in his earlier works. This portrayal suggests Blake's complex understanding of evil, presenting Cain as both perpetrator and victim of his own unbridled passions.

The stark emotional contrast between the mourning parents and the fleeing brother creates a powerful psychological tension that transcends the simple moral binary of good and evil. Through this highly dramatic rendering of humanity's first murder, Blake continues his lifelong artistic practice of reinterpreting biblical narratives to explore deeper truths about the human condition—violence, grief, and the consequences of unchecked desire.

Wiliam Blake, *The Red Dragon and the Woman Clothed in Sun*, c. 1803-1805, Brooklyn Museum, New York via Wikimedia commons, public domain

Building on Blake's biblical narratives, we encounter one of his most iconic and visually striking works, "The Great Red Dragon and the Woman Clothed in Sun." This powerful watercolor illustrates a scene from the Book of Revelation, capturing the apocalyptic confrontation between cosmic forces of good and evil.

In this dramatic composition, a monumental dragon dominates almost the entire picture space. With a muscular torso and outstretched arms, this embodiment of Satan exudes tremendous physical power and menace. At the dragon's feet lies a woman with a pale, terrified face, shrinking from the monstrous figure looming above her. Yet, she is surrounded by radiant sunlight—a divine shelter promising her ultimate salvation. The sky above is filled with darkness, shadows, and ominous red fire, intensifying the atmosphere of terror and cosmic conflict.

What makes this work particularly remarkable is how Blake transforms biblical prophecy into visceral psychological drama. The dragon represents not just Satan as a theological concept but embodies primal fears and the threatening aspects of unchecked power. The woman's vulnerability and the protective light around her create a powerful visual contrast that speaks to the human condition—our fears and hopes for divine protection in times of darkness.

This illustration perfectly exemplifies Blake's distinctive artistic principles. Throughout his career, Blake deliberately ignored conventional rules of perspective, scale, and gravity. Even when depicting historical figures from his own era, he placed them in non-realistic, timeless settings. He actively challenged the prevailing belief in the rational nature of artistic creation rooted in nature—a fundamental principle in European art of his time.

For Blake, reasoning did not play an essential role in creation. He valued intuition and imagination far more than nature and reason. He believed that innate genius, rather than acquired skills, made a true artist. This philosophy is evident in works like "The Great Red Dragon," where emotional and spiritual truths take precedence over anatomical accuracy or realistic spatial relationships.

This rejection of artistic conventions can also be seen in works like "Job Mocked by His Friends." Here, Blake arranges figures in a deliberately non-naturalistic composition, prioritizing emotional and symbolic relationships over physical realism. The figures' exaggerated gestures and expressions convey psychological states rather than realistic human movement. Similarly, in his lost watercolor that we described previously, "The Last Judgment," Blake abandoned the traditional perspective to create a swirling cosmic vision where souls rise and fall according to spiritual rather than physical laws.

William Blake, *Job Rebuked by his Friends,* 1805 via Wikimedia commons, public domain

Blake's revolutionary approach established him as a visionary who transcended the artistic norms of his time.By privileging imagination over observation and spiritual insight over technical precision, he created a unique visual language that continues to resonate with viewers centuries later. His works don't merely illustrate texts—they transform them into visionary experiences that challenge us to see beyond the material world.

Blake’s commitment to conveying deeper truths through artistic innovation is particularly evident in his depictions of biblical narratives. As previously mentioned, "Job Mocked by His Friends" exemplifies his rejection of conventional realism in favor of emotional and symbolic expression. In this work, Blake transforms a moment of suffering into a striking exploration of human judgment and endurance, using composition and gesture to heighten the psychological intensity of the scene.

Blake's "Job Mocked by His Friends" offers a compelling case study of his distinctive artistic vision. This watercolor illustrates a pivotal moment from the Book of Job, where the suffering protagonist endures not only physical torment but also the misguided judgment of his companions. Blake transforms this ancient narrative into a powerful psychological drama that resonates with his broader artistic and philosophical concerns.

In this composition, Job sits centrally, his body wasted by suffering yet maintaining a dignified posture despite his circumstances. His three friends surround him in accusatory poses, their bodies contorted and gesturing dramatically as they wrongly attribute Job's misfortunes to hidden sins. Blake arranges these figures in a deliberate theatrical tableau, eschewing realistic spatial relationships in favor of emotional and symbolic clarity.

What distinguishes Blake's interpretation is how he elevates this biblical scene beyond mere illustration. The stark contrast between Job's quiet dignity and his friends' animated condemnation creates a visual tension that speaks to Blake's lifelong interest in the conflict between authentic spiritual understanding and dogmatic judgment. Job, despite his physical deterioration, appears spiritually illuminated—his face turned slightly upward as if maintaining his connection to divine truth even in his darkest hour.

The color palette further enhances this thematic contrast. Blake employs subdued, earthy tones for Job's form, reflecting his earthly suffering, while his friends are rendered in more vibrant, aggressive colors that suggest their misplaced certainty and spiritual blindness. The background remains minimal and non-specific, creating a timeless, universal space where this human drama unfolds.

This approach perfectly exemplifies Blake's rejection of the artistic conventions mentioned earlier. Rather than showcasing technical virtuosity through realistic detail or conventional perspective, Blake subordinates these elements to spiritual and emotional expression. The figures' proportions and poses are determined not by anatomical accuracy but by their symbolic and psychological significance within the narrative.

"Job Mocked by His Friends" also reflects Blake's complex relationship with religious tradition. While deeply engaged with biblical texts, he consistently reinterpreted them through his unique visionary lens. Here, he sympathizes not with religious authority (represented by Job's dogmatic friends) but with the individual spiritual seeker who maintains integrity even when conventional wisdom turns against him. This mirrors Blake's own position as an artist who remained true to his vision despite working outside the artistic establishment of his time.

The work's intimate scale and watercolor medium—Blake's preferred technique for many of his visionary works—create an immediacy and delicacy that invite close viewing. Unlike grand oil paintings meant for public display, this piece reflects Blake's creation of art for a small circle of patrons and admirers who appreciated his unconventional approach.

Through this powerful depiction of human suffering and misunderstanding, Blake demonstrates his ability to transform biblical narratives into profound explorations of the human condition, making ancient stories speak to universal experiences of pain, perseverance, and the search for meaning in suffering.

William Blake, *God judging Adam,* 1795 via Wikimedia commons, public domain

Blake’s “God Judging Adam” is a powerful representation of divine justice, human suffering, and the tension between free will and predestination. Unlike traditional religious depictions, where God appears as a distant and benevolent ruler, Blake’s vision is filled with movement and intensity. Seated on a fiery chariot, God extends his arm in accusation, while Adam, hunched over and vulnerable, recoils under the weight of judgment. The swirling flames and dramatic gestures create a sense of overwhelming divine wrath, reinforcing the idea that this is not just a moment of punishment but an existential crisis for Adam.

Blake’s use of exaggerated anatomy and dynamic composition departs from the classical harmony of Renaissance religious art. Instead of presenting the Fall as a simple act of divine condemnation, he explores it as an inner torment. The flames surrounding God suggest both the consuming power of divine will and the turmoil of the human soul. Adam’s posture, bent and weighed down, reflects the psychological burden of guilt and separation from the divine. In Blake’s personal mythology, the Fall is not merely an external event but an internal rupture—an alienation from one’s true, spiritual self.

This interpretation aligns with his broader artistic and literary themes. Much like in “The Whirlwind of Lovers” or “The Body of Abel Found by Adam and Eve,” Blake does not depict divine authority as absolute and unquestionable. Instead, his works highlight the emotional and spiritual struggle that follows judgment and sin. The tension between justice and mercy, freedom and fate, is at the heart of his artistic vision. His belief that the greatest form of human suffering is self-imposed, through fear and restriction, resonates deeply in this painting.

Rather than reinforcing conventional religious dogma, Blake’s “God Judging Adam” transforms a biblical narrative into a meditation on human transformation. Just as his Francesca da Rimini and Job paintings explore love and faith in the face of suffering, this work suggests that judgment is not simply about divine retribution but about the individual’s inner journey.

Blake saw art as a means of uncovering hidden truths, not through rigid doctrine but through imagination, emotion, and the exploration of the human soul.

Summary

William Blake's art was not appreciated during his lifetime. Only one individual exhibition of his works was organized, and it ended in failure. His artistic vision was rediscovered only in the second half of the 19th century, eventually influencing the Pre-Raphaelite movement. Blake's graphic works, literary creations, and mystical approach have continued to inspire creators throughout the 20th century and beyond.

What distinguished Blake from his contemporaries was his deliberate rejection of artistic conventions. He ignored the rules of perspective, scale, and gravity that governed the European art of his era. Even when depicting historical figures of his time, he placed them in unreal, timeless settings. He challenged the fundamental belief in the rational nature of artistic creation rooted in observation of nature. For Blake, reasoning played a secondary role in the creative process. He valued intuition and imagination far more than nature and reason, believing that innate genius, rather than acquired skills, made a true artist.

Some of Blake's contemporaries shared these principles. Their visions broke free from accepted representational conventions, spiritualizing and abstracting their subjects. They sought inspiration for developing their imagination in archaic artistic sources, drawing themes from the Bible, Dante, and Homer. They were also influenced by the austere forms of Greek vase painting and illuminated medieval manuscripts.

Blake lived for seventy years during an era increasingly moving toward uniformity and standardization. Yet he remained fiercely individualistic. He strove to demonstrate the value of original artistic invention and creative genius, rejecting contemporary fashions that, in his view, led to the decline of true art. A solitary figure—apart from his faithful wife and a few friends, most of whom died before him—this unappreciated artist passed away without leaving descendants.

When Blake died in 1827, his work had never reached a wider audience, a fact he addressed with characteristic spiritual conviction:

“I should be sorry if I had any earthly fame, for whatever natural glory a man has is so much detracted from his spiritual glory. I wish to do nothing for profit. I wish to live for art. I want nothing whatever. I am quite happy.”

On the day of his death, Blake sketched a final portrait of his beloved wife Catherine. Perhaps it was his devotion to his work that protected him from the madhouse and true insanity of which he was accused throughout his life. It might seem that "madness" is an inherent characteristic of great and brilliant individuals who reject generally accepted norms and singular visions of the world. While other famous and respected artists of the 18th and 19th centuries have faded into obscurity, Blake's legacy continues to be discovered and fascinates successive generations.

Blake stands today as a pioneering figure of Romanticism, though he was considered an outsider during his lifetime. His rejection of rationalism, emphasis on individual vision, and exploration of spiritual and supernatural themes all anticipated the Romantic movement's core values. What truly set him apart was his integration of text and image, his technical innovations in printmaking, and his completely original mythological system. His work bridged the gap between neoclassicism and romanticism while simultaneously transcending both.

In the exploration of works like "The Whirlwind of Lovers," "The Creation of Eve," "The Body of Abel," "The Great Red Dragon," and "Job Mocked by His Friends," we have witnessed Blake's remarkable ability to transform traditional narratives into visionary experiences that continue to resonate with contemporary viewers. His unique artistic language—combining technical mastery with spiritual insight—ensures that Blake remains not merely a historical figure but a living artistic presence whose work continues to challenge and inspire us more than two centuries after his death.

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