The Great Red Dragon and the Woman Clothed in Sun - William Blake
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Descrizione
A powerful watercolour illustration by William Blake, depicting the apocalyptic scene from the Book of Revelation with dramatic scale and detail.
William Blake produced this work as part of a series of watercolours illustrating the Book of Revelation. The composition depicts the biblical narrative from Revelation 12, where a woman clothed with the sun is threatened by a seven-headed dragon. Blake presents the dragon from behind, its massive, bat-like wings spanning the upper portion of the frame. The creature's muscular form dominates the space, while the woman lies below, bathed in a golden light that contrasts with the darker, atmospheric tones surrounding the beast.
Blake utilised a combination of graphite underdrawing and watercolour washes to achieve the specific texture of the dragon's skin and the ethereal quality of the woman's form. The anatomy of the dragon is rendered with a sense of tension, its tail curling around the lower edge of the composition. The use of light is deliberate, focusing the viewer's attention on the interaction between the two figures. This piece is one of several versions Blake created on this theme, reflecting his preoccupation with apocalyptic imagery and his personal interpretation of religious texts.
The work demonstrates Blake's approach to figure drawing, which often prioritised expressive power over strict anatomical realism. The lines are precise, defining the musculature and the structure of the wings with clarity. The palette remains largely earth-toned, with ochre, brown, and muted gold providing a sense of antiquity. This print captures the detail of the original watercolour, preserving the nuances of Blake's brushwork and the layered application of pigment. It remains a primary example of his visionary style, which sought to translate complex theological concepts into visual form through a highly individualised aesthetic language.
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The Great Red Dragon and the Woman Clothed in Sun - William Blake
Artist Biography
William Blake
He married Catherine Boucher in 1782. She was illiterate at the time and signed the marriage register with an X. He taught her to read, write, and engrave, and she became his collaborator for the next forty-five years: mixing paint, operating the printing press, hand-colouring plates, and binding the finished pages into covers.
Their working method was Blake's own invention, revealed to him (he said) in a dream by the spirit of his dead brother Robert. Relief etching reversed the standard printmaking process: instead of cutting lines into copper, Blake wrote and drew on the plate in acid-resistant varnish, then dissolved the surrounding metal with acid, leaving text and image raised. This allowed him to compose poetry and illustration simultaneously on a single plate, print them together, then hand-colour each sheet in watercolour. Every copy was therefore unique. Songs of Innocence and of Experience was produced this way. He sold fewer than thirty copies during his lifetime.
In 1803, he physically threw a soldier named John Schofield out of his garden in Felpham. He was charged with assault and with uttering treasonable expressions against the King. He was acquitted at the Chichester assizes in January 1804.
Newton, painted in 1795, shows the scientist as a young man with the body of a Greek god, bent forward at the bottom of a dark ocean, fixing his gaze on a pair of compasses, measuring and drawing on a scroll that appears to project from his own head. It is a painting about the limits of reason: beautiful, precise, and missing everything beyond the edge of the paper. The Ancient of Days, from the same period, depicts his mythological figure Urizen crouching at the edge of a void, reaching down with a compass to measure the darkness below.
He died on 12 August 1827, working on illustrations for Dante's Divine Comedy. He was buried at Bunhill Fields. The wider recognition came decades later.
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