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The Great Red Dragon and the Beast from the Sea by William Blake

The Great Red Dragon and the Beast from the Sea

William Blake·1805

Historical Context

The Great Red Dragon and the Beast from the Sea continues Blake's Revelation series, depicting the alliance of evil forces from Chapter 13. Blake's unique vision of biblical apocalypse draws on both his intensive study of scripture and his personal mystical experiences to create images of cosmic struggle that transcend conventional religious illustration. Blake's highly personal technique — combining watercolor, tempera, and sometimes relief etching — was inseparable from his visionary content; he worked outside the academic tradition, selling relatively little in his lifetime while creating some of the most original art of the Romantic era. The series of Revelation illustrations represents Blake at his most fearless — willing to confront the most violent and disturbing imagery in the biblical canon and render it with an intensity that conventional religious art habitually softened. The Rosenwald Collection's preservation of these works recognizes their importance both as religious art and as the defining achievement of an artist who was largely unrecognized in his lifetime.

Technical Analysis

The powerful, muscular figures are drawn with Blake's characteristic linear precision, the dramatic composition creating a sense of cosmic struggle through bold forms and luminous color.

Look Closer

  • ◆The Red Dragon fills the upper two-thirds of the composition, its wings spread to create an oppressive canopy that traps the Beast of the Sea below in a visual hierarchy of evil.
  • ◆Blake renders the Dragon's scales with a systematic, almost obsessive regularity — each scale is individually drawn, the pattern extending across the vast body without loss of detail.
  • ◆The Beast of the Sea, rising from the water at lower left, is a composite creature of extraordinary grotesquerie — Blake's biblical monsters are among the most inventive creatures in Western art.
  • ◆The color is applied in flat, unblended washes that give the image the character of stained glass or medieval illumination — Blake's technique deliberately evokes pre-Renaissance sacred art.
  • ◆Despite the scene's terror, the composition has an almost mathematical symmetry — the Dragon's spread wings create a formal balance that turns apocalyptic vision into ordered design.

See It In Person

Rosenwald Collection

Washington, D.C.,

Visit museum website →

Quick Facts

Medium
Acrylic
Dimensions
40.1 × 35.6 cm
Era
Romanticism
Style
British Romanticism
Genre
Religious
Location
Rosenwald Collection, Washington, D.C.
View on museum website →

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St. Matthew by William Blake

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Job and His Daughters by William Blake

Job and His Daughters

William Blake·1799/1800

The Last Supper by William Blake

The Last Supper

William Blake·1799

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