Unknown subject (Let Him look up into the Heaven and laugh in the bright air) c. 1805

Curator: The texture is immediately striking; the intense hatching creates such visual density. Editor: Indeed. We’re looking at a print, likely ink on paper, by William Blake, created around 1805. The piece is titled "Unknown Subject (Let Him look up into the Heaven and laugh in the bright air)." Quite a phrase, wouldn't you say? Curator: Very Blakean! The two figures seem caught in contrasting emotional states; one weighed down, perhaps lamenting, while the other…liberated? I read it in their postures. Note also how Blake divides the space; above the arch we find one nude figure in dynamic repose and geometric forms that give it structure Editor: That archway bisecting the scene certainly demands consideration. It echoes Blake's concern with societal constraints. The placement of the second figure weighed down beneath this... oppressive element suggests a symbolic commentary on burdens and limitations. Also the heads piled up in the lower section, the horrors of war. Curator: I’m interested in how the composition redirects our sightline constantly: upward from heads to figure, arch to figure, heaven to Earth in visual and psychic dimensions. The line work and hatching is a crucial technique, I imagine, for portraying his mental visions to others. What's he expressing here about states of mind? Editor: It invites many possibilities. The art historical context tells us that this piece emerges from a tumultuous time; think Napoleonic wars, sociopolitical upheaval...Blake used imagery to critique power, advocating individual spiritual rebellion against the established order. His use of biblical themes with human form reflects what Blake was actively pushing during the time period, perhaps even calling into question the validity of war through grotesque imagery. Curator: It’s not always clear, and perhaps deliberate; the printmaking underscores the idea of a personal mythopoeia rendered into this single moment with strong, bold strokes and dark shadowy tones. Editor: I agree completely, Blake makes us consider: Where are we headed when this is going on? Curator: Thanks for unpacking that with me; I think it invites even more discussion to see these dynamic visual choices set within a historical frame. Editor: Always a pleasure; each viewing reveals more!