A white haired man in a long, pale robe who flees from us with his hands raised - William Blake
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A dramatic relief etching from William Blake's 'Europe a Prophecy', depicting a figure in motion through a dark, atmospheric space.
This image originates from William Blake's illuminated book, 'Europe a Prophecy', first printed in 1794. The work depicts a figure in a state of urgent motion, his back turned to the viewer as he retreats into a dark, atmospheric space. The figure is draped in a long, flowing robe that catches the light, creating a sense of dynamic movement against the surrounding gloom. Blake employs his characteristic relief etching technique, which he then finished with hand-applied watercolour to achieve the specific tonal qualities seen here.
The composition focuses on the tension of the human form. The raised hands and the posture of the figure suggest a reaction to an unseen force or a moment of sudden revelation. Blake often used such figures to represent spiritual or psychological states rather than literal historical events. The dark, murky background serves to isolate the figure, drawing attention to the musculature and the heavy folds of the garment. The colour palette is restricted to earthy tones, deep browns, and muted reds, which contribute to the sombre and dramatic mood of the piece.
As a poet, painter, and printmaker, Blake operated outside the mainstream art institutions of his time. His work is defined by a personal mythology and a rejection of conventional academic styles. This particular plate demonstrates his ability to combine text and image into a unified visual experience, even when viewed in isolation. The print captures the raw energy and visionary quality that define his contribution to British art. It remains a clear example of his technical experimentation with copperplate printing and his interest in the expressive potential of the human body in motion.
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Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
A white haired man in a long, pale robe who flees from us with his hands raised - 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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