William Blake 1757-1827

This newly discovered and important early work by Blake depicts The Judgment of Solomon (The First Book of Kings; chapter 3, verses 16-18). As a young man Blake received a traditional training at the Royal Academy and was taught to follow the example and often copy the works of the Old Masters. The present watercolour is closely based on Raphael's fresco of the same subject in the Vatican, Rome. The composition of both works is very similar, with the same grouping of figures in a shallow frieze-like arrangement. There are, however, a number of differences between the works, for instance, in Blake's watercolour Solomon holds a sceptre, the dead child is laid in a blanket and the architectural background is softened with drapes.

The present work can be compared closely to a series of watercolours which Blake made to illustrate scenes from English history.  The series includes such legendary events as 'The Landing of Trojan Brutus in England' and 'Edward III presenting the Black Prince to the Barons,' but is remarkable for the emphasis on moral virtues rather than deeds of glory.  These watercolours have conventionally been divided into two groups and dated to either circa 1779 or circa 1793 (see Martin Butlin, The Paintings and Drawings of William Blake, 1981, pp.16-25). Although the present watercolour is similar in size to the earlier group, stylistically it is closer to the more finished drawings of circa 1793.

The Penance of Jane Shore in St Paul's Church (Tate Gallery) is one of the later drawings from Blake's Illustrations to English History and relates closely in style to the present work.  In both watercolours, Blake demonstrates a tight, delicate and crisp handling of drapery which reflects his early training as an engraver. The muscularity and solidity of the figures, together with their frieze-like arrangement, is reminiscent of classical sculpture and the powerful design of both compositions harkens back to the great compositions of the seventeenth century Neo-Classicist painters, such as Jacques Louis David's Oath of the Horati (The Louvre, Paris).

Although the influences of Blake's early training are clearly apparent in the present watercolour he also demonstrates his own, distinctly personal style. His figures illustrate an exaggeration of form, gesture and expression which results in an intensity of drama and emotion. It was this tendency towards expression and emotion which became the hallmarks of his mature style and led him to reject the art of Raphael in favour of that of Michelangelo