The Chaining of Orc

The Chaining of Orc by William Blake, executed in 1812, is a defining example of the artist’s unique mythological printmaking. Classified as a relief etching, the work utilizes a highly personalized technique Blake developed to merge image and text on the copper plate, allowing him to bypass traditional commercial printing methods and control the production of his illuminated books entirely.

The piece belongs squarely within the British Romantic period, reflecting the intense political and spiritual concerns prevalent during the years 1801 to 1825. Orc, a key figure in Blake's private cosmology, represents the revolutionary spirit, untamed passion, and youthful rebellion. However, the scene depicts Orc bound, illustrating the artist’s profound ambivalence towards radical societal change. Blake often presented the cycle of revolution as one where the liberating force (Orc) inevitably succumbs to the constraints of established authority (Urizen), a theme deeply tied to the historical aftermath of the French Revolution. The composition, characterized by dramatic, flowing lines and powerful musculature, amplifies the intensity of this symbolic struggle against confinement.

Blake’s decision to publish his works in limited, illuminated editions underscores his role as both poet and visual artist. These early 19th-century prints were produced with meticulous attention, often involving subsequent hand-coloring. This particular impression of The Chaining of Orc is held in the prestigious collection of the National Gallery of Art. As a seminal work from a period where British artistic production was shifting towards individualism and self-publishing, the piece demonstrates Blake’s enduring technical and visionary brilliance. Although originally intended for a small audience, works created by Blake are now globally accessible, and prints of this historical subject matter are often available through public domain resources, allowing broad study of the artist’s complex narrative structures.