William Blake (1757–1827) was a British artist, engraver, poet, and writer on theological themes. His illuminated books were the product of his technological inventiveness, and are characterized by the juxtaposition of texts and images in which a dialectic between two different media is a means of stimulating the imagination of the viewer and reader. Influences on Blake are often hard to trace, though he explicitly cites and criticizes Milton and Swedenborg, as well as the contemporary artist Joshua Reynolds. Such influences, which might help explain Blake’s ideas, seem less important than the extraordinary inventiveness which one finds in his words and images and their production, which have analogies to earlier themes, but without offering the evidence that demonstrates direct dependence. Blake’s emphasis is on the importance of “inspiration” rather than “memory,” and as such he set great store on the creativity of the poetic genius and its reception by the engaged reader or viewer. The visual was primary for Blake. It was a major part of his attempt to produce that which is “not too explicit as the fittest for Instruction,” to allow the reader/viewer to work out what the meaning of words and images was and how one might inform the other. Much of his work is inspired by the Bible, though the heterodox approach he takes to biblical interpretation is frequently at odds with mainstream Christian opinion. Blake’s lifelong fascination with the work of John Milton led him both to challenge and refine his great predecessor’s views and, in Milton a Poem, to enable the departed spirit of Milton to discern the worst of his intellectually self-centered excesses. Blake’s interpretative method, his hermeneutic, is encapsulated in some words he wrote to a client who was perplexed by his work. In it he gave priority to imaginative engagement with the Bible which was only then complemented by rational reflection: “Why is the Bible more Entertaining & Instructive than any other book. Is it not because they are addressed to the Imagination which is Spiritual Sensation & but mediately to the Understanding or Reason?” (Letter to Trusler 1799, E702-3). His ongoing work and the complex idiosyncratic mythology that he invented reflect the changed circumstances of the reaction to the events in revolutionary France. Themes of the Blake corpus, such as prophecy, challenge the hegemony of authoritative texts like the Bible. His critique of dualism and monarchical view of God pervade his work.
Born in 1757, Blake lived most of his life in London with the exception of four, often difficult, years in Felpham, Sussex (1800–1804). He was married to Catherine Boucher (1762–1831), who in his later years was a collaborator in his engraving and printing. Arguably, the companionship of Job’s wife in the Illustrations of the Book of Job, so different from the impression one gets from the brief reference to Job’s wife in the biblical book, may reflect their marriage. The Felpham years were difficult because they marked a time of great personal upheaval, when the ideas which formed his long illuminated poems, Milton a Poem and Jerusalem: The Emanation of the Giant Albion, took shape. As a consequence of an incident with a soldier in Felpham, he was put on trial at this time for sedition, for comments he was alleged to have made to this English soldier. This experience seared his visionary imagination and left its trace in the repeated references to the soldier who brought the charge against him, Schofield, which are dotted throughout Blake’s Jerusalem. Blake was trained as an engraver and pioneered his own technique. This remained the basis of his art, and arguably offered a means that complemented his visionary imagination (Joseph Viscomi, Blake and the Idea of the Book, 1993). After his move back to London, he lived in obscurity and on the fringes of poverty, indebted to the support of patrons like Thomas Butts, for whom he painted many biblical scenes, and later John Linnell. Only in the last years of his life was he discovered by a group of artists. Toward the end of his life he was adopted as an artistic father figure by a group called “The Ancients,” which included George Richmond, Samuel Palmer, and Edward Calvert.
Like religion, art has been a fundamental component of human experience since the beginning of time. Often working in partnership, occasionally at odds, art and religion form a combination that has been a source of inspiration, pedagogy, contemplation, and celebration of the relationship between the human and the divine. However, each individual religion and its culture have encountered the arts differently; these encounters are reflected in distinctive attitudes toward the human, sex, gender, sexuality, race, ethnicity, and class, as well as configuration of the holy.
The human figure has been a common denominator in the arts envisioning transformations in cultural and societal attitudes, economic and political perceptions, and religious doctrines. Traditional wisdom suggests that the majority of world cultures and religions are established upon a patriarchal structure so that representations of the male body project attitudes of power while the female body projects negative attributes. More recent scholarship by feminist art historians, critics, cultural historians, and religious historians provides new ways of looking at the female figure and the role of women in religious art including the history of women artists, patrons, collectors, and, most recently, as critics and curators.
Further surveying the iconography of specific women, whether deities, historical personages, or legendary beings, in the history of a religion affords the opportunity not simply to analyze variations in artistic styles but also to witness how religion shapes and informs cultural, societal, and even legal definitions of women. While the majority of scholarly investigations have focused on Western religions, the possibilities of both comparative analyses and innovative studies of non-Western iconographies of women in religious art can both inform and expand global recognition of the categories of gender, race, and ethnicity as well as research methodologies. The Western model of iconography may be found wanting and open to enrichment through engagement with new categories and models of analysis.