Satan Going Forth from the Presence of the Lord is a profound engraving created by the visionary British artist William Blake in 1825. Executed as an engraving on thick paper, the piece exemplifies Blake's unique approach to illustration and printmaking during the final phase of the Romantic period. This work was often part of larger portfolios that disseminated his theological and literary interpretations widely among patrons and enthusiasts. The scene, rooted directly in the biblical narrative of the Book of Job, depicts Satan reluctantly leaving the celestial assembly after receiving permission to test the faith of the righteous man.
Blake’s mastery of line work and dramatic contrast is fully evident in this composition. The artist utilizes the restrictive medium of engraving to achieve figures imbued with immense spiritual energy, contrasting the luminous figures of the heavenly court with the darker, sinuous form of the antagonist. Blake structured this portfolio series to convey not merely illustration, but deep psychological and theological commentary on suffering, redemption, and the limits of human understanding. The visual intensity reflects the spiritual and intellectual dynamism prevalent in the British art scene during the 1801 to 1825 period.
The technique itself-engraving on thick paper-ensured the durability and widespread appreciation of Blake’s final major illuminated works. While frequently associated with his early relief etching, the complete series involving the Book of Job, of which Satan Going Forth from the Presence of the Lord is a crucial component, represents one of his most celebrated achievements in the print medium. This influential piece, a key example of British printmaking from the early nineteenth century, now resides in the prestigious collection of the National Gallery of Art. Because the work dates from 1825, prints of this significant drawing are frequently available through public domain collections, allowing widespread scholarly access to Blake’s powerful, final visions.
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