With Dreams Upon My Bed Thou Scarest Me and Affrightest Me with Visions (The Book of Job) - William Blake
Archival giclée
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Description
A powerful engraving from William Blake's Illustrations of the Book of Job, depicting Job's torment by a demonic figure.
This engraving is plate eleven from William Blake's Illustrations of the Book of Job, a series completed towards the end of his career. The composition depicts the suffering of Job, who lies upon his bed while tormented by a demonic figure. This figure, representing Satan, looms over Job with a serpent coiled around his body, embodying the psychological and physical agony described in the biblical text. Below the bed, flames rise, and figures are seen in distress, adding to the atmosphere of spiritual conflict.
Blake employs a dense, cross-hatched technique to create shadows and texture, typical of his late-period printmaking. The central image is framed by text from the Book of Job, which Blake integrated into the design to create a unified visual and literary experience. The swirling, cloud-like borders contain further scriptural passages, guiding the viewer through the narrative of Job's trials. The work demonstrates Blake's mastery of line and his ability to translate complex theological concepts into visual form.
As a printmaker, Blake often worked with copper plates, using a combination of etching and engraving to achieve the desired tonal range. This specific plate reflects his interest in the struggle between divine order and chaotic forces. The figures are rendered with a muscularity and tension that define his unique approach to the human form. By combining his own poetry and biblical verses with these stark, monochromatic images, Blake created a personal interpretation of the Job narrative that remains distinct within British art history. The print is a fine example of his technical skill and his preoccupation with themes of redemption, suffering, and the nature of the divine.
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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.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
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- Keep in a dry, room-temperature space
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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
With Dreams Upon My Bed Thou Scarest Me and Affrightest Me with Visions (The Book of Job) - 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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