Behold Now Behemoth, Which I Made With Thee (The Book of Job) - William Blake
Archival giclée
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Description
A visionary watercolour by William Blake depicting the Behemoth and Leviathan from the Book of Job, rendered with characteristic ink and wash techniques.
This work is one of the watercolours from William Blake's series illustrating the Book of Job. It depicts the divine revelation of the Behemoth and the Leviathan, two creatures described in the biblical text. Blake presents the Behemoth as a massive, elephantine figure within a circular frame, while the serpentine Leviathan coils beneath it in the water. Above this scene, the figure of God appears, surrounded by angels and stars, gesturing towards the creatures below. The composition reflects Blake's interest in visionary themes and his personal interpretation of scripture. Blake utilised a combination of ink and watercolour to achieve the atmospheric effects seen in the sky and the textured forms of the beasts. The figures are rendered with clear, defined outlines, a characteristic of his graphic style. The circular enclosure creates a sense of containment, separating the earthly manifestations of power from the celestial realm above. The palette remains relatively muted, relying on earth tones and soft washes to define the forms, which allows the narrative elements to remain the primary focus of the viewer. This series of illustrations represents a significant period in Blake's career, where he explored complex theological concepts through visual storytelling. The work demonstrates his ability to integrate text and image, a practice he refined throughout his life. By focusing on the moment of divine instruction, Blake captures the awe and scale inherent in the original biblical passage. The print captures the nuances of the original watercolour, preserving the delicate washes and the strength of the ink lines that define the figures. It is a piece that invites close observation of the mythological and religious symbolism present in Blake's work.
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Manufacturing
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.
Behold Now Behemoth, Which I Made With Thee (The Book of Job) - William Blake
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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
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
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
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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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