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The Judgement of Solomon by William Blake

The Judgement of Solomon

William Blake·c. 1792

Historical Context

The Judgement of Solomon from around 1792 at the Fitzwilliam Museum depicts one of the Old Testament's most celebrated wisdom stories, in which King Solomon threatens to divide a disputed infant to reveal which woman is the true mother. Blake's treatment of this subject reflects his engagement with biblical narrative as a source of psychological and moral insight rather than merely doctrinal illustration. Blake created this work using his distinctive tempera or watercolor technique combined with his personal mythological vision that placed him outside the mainstream of British art while anticipating later Symbolist movements. The Solomon subject allowed Blake to explore themes of justice, wisdom, and the power of spiritual discernment over legal formalism that resonated with his broader critique of the constraining power of law and institution. The Fitzwilliam Museum at Cambridge holds this work within a collection that includes important examples of Blake's visual and literary art, recognizing his unique position at the intersection of poetry, prophecy, and visual imagination.

Technical Analysis

The painting showcases William Blake's skilled technique, with careful observation lending the work its distinctive character. The palette and brushwork are calibrated to serve the subject matter, demonstrating the technical command expected of a work from this period.

Look Closer

  • ◆Blake's figures are conceived as outline forms first — the drawing takes precedence over the painting, consistent with his belief that the bound outline was the foundation of all great art.
  • ◆The two women contesting the infant are compositionally separated by color — one in warm tones, the other cooler — creating a visual argument that mirrors their moral opposition.
  • ◆Solomon occupies the center elevated on his throne, but his gesture of judgment — the raised hand signaling the sword — is ambiguous, maintaining narrative tension before resolution.
  • ◆The soldier with the sword is positioned at the exact compositional center of the lower half, his raised weapon the painting's most dynamic diagonal element.
  • ◆Blake employs a shallow, frieze-like space that refuses the illusion of depth, pressing all action toward the picture surface in the manner of his graphic illustration work.

See It In Person

Fitzwilliam Museum

Cambridge, United Kingdom

Visit museum website →

Quick Facts

Medium
Oil on canvas
Dimensions
26.7 × 38.1 cm
Era
Romanticism
Style
British Romanticism
Genre
Mythology
Location
Fitzwilliam Museum, Cambridge
View on museum website →

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The Last Supper by William Blake

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