
plate no. 9857
William Blake, 1794
From the record
from the sources
The Ancient of Days was originally published as the frontispiece to Blake's 1794 work Europe a Prophecy. en.wikipedia.org
“The Ancient of Days is a design by William Blake, originally published as the frontispiece to the 1794 work Europe a Prophecy.”
The design shows the figure Urizen crouching in a circular design against a cloud-like background. en.wikipedia.org
“It draws its name from one of God's titles in the Book of Daniel and shows Urizen crouching in a circular design with a cloud-like background.”
Urizen's outstretched hand holds a compass over a darker void below. en.wikipedia.org
“His outstretched hand holds a compass over the darker void below.”
Blake reused the concept of a crouching figure holding a compass in his Newton, completed the following year. en.wikipedia.org
“The same concept of a crouching figure holding a compass was used by Blake in his Newton, completed the next year.”
Many versions of the work exist, including one made for Frederick Tatham only weeks before Blake died. en.wikipedia.org
“As such there are many versions of the work extant, including one completed for Frederick Tatham only weeks before Blake's death.”
The British Museum notes that one copy, accessioned in 1885, was left out of Martin Butlin's 1982 catalogue raisonné, suggesting doubt about its attribution. en.wikipedia.org
“The British Museum notes that one copy, accessioned in 1885, was excluded from Martin Butlin's 1982 catalogue raisonné of Blake's paintings and drawings, suggesting the author doubted that attribution.”
Early critics regarded the work as among Blake's best and as a favourite of the artist himself. en.wikipedia.org
“Early critics of Blake noted the work as amongst his best, and a favourite of the artist himself.”
The copy commissioned by Tatham was tinted by Blake while he was propped up in bed. en.wikipedia.org
“The copy commissioned by Tatham in the last days of Blake's life, for a sum of money exceeding any previous payment for his work, was tinted by the artist while propped up in his bed.”
approach — 8 steps
Sketch the basic shapes of the figure, sun, and clouds, focusing on proportions and composition.
Underpaint the entire image with a thin layer of burnt sienna or raw umber to establish values.
Begin layering in the darker areas of the background and figure using black and dark browns.
Apply the base colors for the sun and figure, blending warm yellows, oranges, and reds.
Add highlights to the figure and sun using lighter yellows and whites, focusing on areas of direct light.
Refine the details of the figure's face, hair, and hands, paying attention to subtle value changes.
Paint the compass with a light yellow, adding highlights to create a metallic effect.
Add final details and adjust values as needed to create a cohesive and dramatic image.
color palette
primary · yellow ochre · burnt sienna · black
secondary · cadmium red · titanium white · ultramarine blue
Achieve the skin tones by mixing yellow ochre, burnt sienna, and a touch of red. Create the glowing effect of the sun by layering yellows, oranges, and reds, and then glazing with a thin layer of yellow.
techniques
common pitfalls
surface · stretched canvas
required
optional
Using a toned canvas (e.g., with a wash of burnt sienna) can help establish the initial values and create a warm undertone.
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