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 encounter within a whirlwind.
This engraving is plate 13 from William Blake's Illustrations of the Book of Job, a series completed in 1825. The work depicts the moment when the deity appears to Job within a tempestuous whirlwind. Blake employs his characteristic linear style, using fine, controlled hatching to create volume and atmospheric tension. The central figure of the Lord is depicted with a flowing beard and hair that merges with the swirling clouds, suggesting a divine presence that transcends physical form. Below, Job and his companions are shown in postures of awe and submission, their figures rendered with a sense of weight and gravity that contrasts with the ethereal nature of the apparition above.
Blake's approach to the biblical narrative is highly personal and visionary. He avoids traditional iconography, opting instead for a composition that emphasises the psychological and spiritual dimensions of the encounter. The text surrounding the image, integrated into the design, provides context from the Book of Job, reinforcing the connection between the visual and the written word. The border contains additional figures and symbolic elements, a common feature in Blake's printed works, which adds a layer of complexity to the overall composition. This print demonstrates Blake's technical mastery of the burin and his ability to convey complex theological concepts through stark, monochromatic imagery. The work remains a primary example of his late period, where his focus shifted towards more refined, classical forms while maintaining his unique, imaginative vision. The clarity of the lines and the balance between the central scene and the surrounding text demonstrate the precision Blake brought to his printmaking process, ensuring that every element contributes to the narrative weight of the scene.
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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
Every Solis piece is made to order with archival, gallery-quality materials built to last.
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- Archival matte fine-art paper, FSC-certified
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- Dust gently with a soft, dry cloth
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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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