Then the Lord Answered Job out of the Whirlwind - William Blake
Archival giclée
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Description
A powerful engraving from William Blake's Illustrations of the Book of Job, depicting the divine revelation of God to Job within a whirlwind.
This engraving is plate 13 from William Blake's Illustrations of the Book of Job, a series produced towards the end of his career. The composition depicts the moment when God appears to Job within a swirling vortex of wind and cloud. Blake employs his characteristic linear style, using fine, controlled hatching to define the muscular forms of the figures and the ethereal, sweeping motion of the whirlwind.
God is shown as an elderly, bearded figure, his arms outstretched in a gesture of authority and revelation. Below, Job and his companions are positioned in states of awe and submission. The central image is framed by a decorative border containing biblical text, a common feature in Blake's illuminated books. The text at the top reads, 'Who is this that darkeneth counsel by words without knowledge', while the lower section includes verses from the Book of Job.
Blake's approach to the subject is highly personal, reflecting his own visionary interpretation of biblical narratives. The work demonstrates his technical mastery of the copperplate engraving process, which he refined over many years. The contrast between the solid, earthly figures of the humans and the fluid, atmospheric representation of the divine presence creates a sense of tension and spiritual weight. This series is widely regarded as one of the most significant achievements in British printmaking, showcasing Blake's ability to integrate text and image into a unified, coherent narrative structure. The print serves as a clear example of his late style, where clarity of line and symbolic depth are prioritised over painterly effects.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
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- Archival matte fine-art paper, FSC-certified
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Then the Lord Answered Job out of the Whirlwind - William Blake
Artist Biography
William Blake
He married Catherine Boucher in 1782. She was illiterate at the time and signed the marriage register with an X. He taught her to read, write, and engrave, and she became his collaborator for the next forty-five years: mixing paint, operating the printing press, hand-colouring plates, and binding the finished pages into covers.
Their working method was Blake's own invention, revealed to him (he said) in a dream by the spirit of his dead brother Robert. Relief etching reversed the standard printmaking process: instead of cutting lines into copper, Blake wrote and drew on the plate in acid-resistant varnish, then dissolved the surrounding metal with acid, leaving text and image raised. This allowed him to compose poetry and illustration simultaneously on a single plate, print them together, then hand-colour each sheet in watercolour. Every copy was therefore unique. Songs of Innocence and of Experience was produced this way. He sold fewer than thirty copies during his lifetime.
In 1803, he physically threw a soldier named John Schofield out of his garden in Felpham. He was charged with assault and with uttering treasonable expressions against the King. He was acquitted at the Chichester assizes in January 1804.
Newton, painted in 1795, shows the scientist as a young man with the body of a Greek god, bent forward at the bottom of a dark ocean, fixing his gaze on a pair of compasses, measuring and drawing on a scroll that appears to project from his own head. It is a painting about the limits of reason: beautiful, precise, and missing everything beyond the edge of the paper. The Ancient of Days, from the same period, depicts his mythological figure Urizen crouching at the edge of a void, reaching down with a compass to measure the darkness below.
He died on 12 August 1827, working on illustrations for Dante's Divine Comedy. He was buried at Bunhill Fields. The wider recognition came decades later.
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