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William Blake Famous Paintings For Sale!
Dawit Abeza
William Blake Famous Paintings For Sale!

William Blake Famous Paintings For Sale!

The Ancient of Days

The-Ancient-of-Days

The Ancient of Days is a drawing by William Blake, first published as an illustration to the 1794 work Europe a Prophecy. The composition draws its name from one of God's titles in the Book of Daniel and displays Urizen bending in an orbicular form with a cloud-like framework. Urizen outstretched hand contains a compass over the mysterious void below. Similar representation appears in Blake's Newton, The Ancient of Days was "a singular favorite with Blake and as one it was always a happiness to him to copy."As such there are numerous versions of the work existing, including one developed for Frederick Tatham only weeks before Blake's death.

Pity

Pity-William-Blake-1795

Pity is a composition inspired by Macbeth: ‘pity, like a naked newborn babe / Striding the blast, or heaven’s cherubim horsed / Upon the sightless couriers of the air’. William Blake draws on the popularly-held connection between a light complexion and ethical purity. These bonds are also made by Lavater, who composes that ‘the grey is the tenderest of horses, and, we may here add, that people with light hair, if not effeminate, are yet, it is well known, of tender formation and constitution’.

The Angel of Revelation

the-angel-of-revelation-1805-William-Blake

The Angel of Revelation comes from a series of eighty biblical watercolors that Blake made for Thomas Butts, an influential patron. He found the subject in chapter 10 of the book of Revelation and describes both the author and his vision. A diminutive Saint John, pen in hand, on the island of Patmos, gazes at a "mighty angel . . . clothed with a cloud . . . a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fire." Blake based the angel's water-spanning position on prints of the ancient Colossus of Rhodes and envisioned the seven thunders defined in the text as horsemen traveling within the clouds.

The Lovers Whirlwind

the-lovers-whirlwind-1827-William-Blake

The Whirlwind of Lovers displays the scene in Canto V of the Inferno in which Dante meets the spirit of Francesca da Rimini, who performed infidelity with her brother in law, Paolo. Overcome with sadness at their story of thwarted love, Dante has fallen at the feet of his inferno guide, the Roman poet Virgil, as a whirlwind of other sinful lovers suffers nearby. Rather than solely illustrate the novel, Blake has reinterpreted it in both subtle and noticeable ways. In all the paintings Dante is clothed in red (symbol of the passions) and Virgil in blue (symbol of the imagination), corresponding to Blake's mythology that the imagination must guide our passions through the suffering of the earth. More obviously, Blake put the spirits of Francesca and Paolo within the brilliant, heavenly light over Virgil's head, rather than in the whirlwind with the other doomed souls: though technically wrongdoers, he provides them the mercy of their love.

Newton

Isaac-Newton-William-Blake

Newton is perhaps Blake's most famous visual artwork, the mathematician and physicist Isaac Newton is illustrated drawing on a document on the ground with a wide compass. Newton remains on a rock encompassed by darkness, leaned over and completely absorbed by his own thoughts. For Blake, Newton was the living expression of rationality and scientific inquiry, a convention of intelligence which he viewed as reductive, sterile, and ultimately misleading. Isaac Newton is clearly a significant visual allegory, hence, the sharp edges and even lines used to signal out Newton's body indicating the restrictive spirit of reason, while the natural forms of the rock, obviously covered in algae and living plants, express the world of nature, where the spirit of human imagination finds its true glass. The deep, consuming black surrounding Newton, usually taken to represent the bottom of the sea or outer space, indicates his disregard of this world, his distance from the Spiritual light of truth. The compass is a representation of geometry and rational order.

The Body of Abel Found by Adam and Eve

The Body of Abel Found by Adam and Eve by William Blake

Blake's vivacious creative mind is found in this artwork where he indicates Adam and Eve finding Abel's body as Cain gets ready to cover it. Adam and Eve are stooping with sickening dread by Abel's white and unbending body. Adam looks with stun at Cain, who flees, tearing at his hair. Eve tosses herself over Abel's body in a motion of outrageous melancholy. Her arms structure a hover as she twists around Abel with her head tossed down and her hair falling in waves over his body. Albeit presented and clumsy, Adam and Eve's motions viably express their feelings. The recently burrowed, dim long level grave, underlined by the scoop laying parallel to it in the closer view, makes a profound slash that isolates the escaping child from his folks. The Body of Abel Found by Adam and Eve is an uncommon topic for craftsmanship. In spite of the fact that found in Blake's own composition (1822), the scene isn't delineated in the Bible (see Genesis iv.8-14). For Blake, thoughts could easily compare to practical portrayals. His work stands out in solid difference to the balanced request of the eighteenth century and was a cognizant response against it. Blake has attracted Cain a way that passes on the possibility of developing more than it genuinely indicates it. Cain's frightfulness and blame are portrayed through his jumping represent, his body turned with one leg extended a long ways behind him. He raises his arms to tear at his hair; his eyes are wide and his mouth frames an "O" of fear. God's fierceness is found in the blazing sky. In Blake's emotional story (his own folklore), "The Ghost of Abel," Satan and Abel's Ghost sob for retaliation while Jehovah and his blessed messengers maintain the pardoning of transgression. In the artistic creation, however, feelings rule the scene. The quick effect of Adam and Eve's troubled misfortune is increased by the dramatization of Cain's acknowledgment of his own blame resounded by the weird whiteness and feeling of the shroud that infest the board.

Satan Smiting Job with Sore Boils by William Blake

 Satan Smiting Job with Sore Boils by William Blake

 The scriptural 'Book of Job' addresses the presence of detestable and enduring in reality as we know it where an adoring, all-amazing God exists. It has been depicted as 'the most profound and abstract work of the whole Old Testament'. In 'Employment', God and Satan examine the breaking points of human confidence and perseverance. God gives Satan a chance to power Job to experience extraordinary hardships, including the annihilation of his family. In spite of this, as God anticipated, Job's confidence stays unshaken and he is remunerated by God with the rebuilding of his wellbeing, riches and family. Here Blake indicates Satan tormenting Job with bubbles.

From The Holy Bible (King James variant), Book of Job, Chapter II, 3-10

3. And the Lord said unto Satan, Hast thou considered my worker Job, that there is none similar to him in the earth, an ideal and an upstanding man, one that feareth God, and escheweth fiendish? and still he holdeth quick his uprightness, despite the fact that thou movedst me against him, to obliterate him without cause.4. And Satan addressed the Lord, and stated, Skin for skin, yea, all that a man hath will he give for his life.5. But set forth thine hand now, and contact his bone and his tissue, and he will revile thee to thy face.6. And the Lord said unto Satan, Behold, he is in thine hand; however spare his life.7. So went Satan forward from the nearness of the Lord, and destroyed Job with sore bubbles from the bottom of his foot unto his crown.8. And he took him a potsherd to scratch himself withal; and he plunked down among the ashes.9. Then said his better half unto him, Dost thou still hold thine trustworthiness? revile God, and die.10. But he said unto her, Thou speakest as one of the silly ladies speaketh. What? will we get the hang of the hand of God, and will we not get detestable? In this did not Job sin with his lips.

The Night of Enitharmon's Joy by William Blake

 The Night of Enitharmon's Joy by William Blake

The Night of Enitharmon's Joy, often referred as The Triple Hecate or simply Hecate, is a 1795 work of art by the English artist and poet William Blake which depicts Enitharmon, a female character in his mythology, or Hecate, a chthonic Greco-Roman goddess of magic and the underworld. The work presents a nightmarish scene with fantastic creatures. The Triple Hecate is painted with deep tones and bold masses. Blake employed a new technique whose "effect is darker and richer than [his] illuminated books".One scholar interprets his color print Hecate thus: "She is triple, according to mythology: a girl and a boy hide their heads behind her back. Her left hand lies on a book of magic; her left foot is extended. She is attended by a thistle-eating ass, the mournful owl of false wisdom, the head of a crocodile (blood-thirsty hypocrisy), and a cat-headed bat." Blake often drew on Michelangelo to create and compose his epic images, including Hecate's, according to a consensus of critics. "Blake is indebted to Michelangelo for many of his giant forms". Michelangelo contributed many "characters to Blake's gallery of mythic persons and heroes". Regarding the Hecate color print, a suggested trail may be traced. From Michelangelo, Blake copied his early sketch entitled The Reposing Traveller, which then evolved into a figure for his work (1795-1797) regarding Night Thoughts, and also into the similarly posed figure of Hecate here.

Artworks of William Blake

 

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