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[85646] Tate Britain : The Good and Evil Angels
Tate Britain, Millbank, London SW1.
The Good and Evil Angels.
William Blake (1757-1827).
Colourprint, ink & watercolour on paper, c1795-1805.
In his annotations to a text by Lavater, Blake claimed that ‘Active Evil is better than Passive Good’, rendering the figures in this picture somewhat ambiguous. Perhaps the chain attached to the ‘evil’ angel’s ankle suggests the curtailing of energy by misguided rational thought?
In constructing his figures, Blake evokes conventional eighteenth century stereotypes. The heavy build and darker skin of the ‘evil’ angel suggest a non-European character, described by Lavater as ‘strong, muscular, agile; but dirty, indolent and trifling’, while the fair hair and light skin of the ‘good’ angel are consonant with ideas of physical – and intellectual – perfection.
[85646] Tate Britain : The Good and Evil Angels
Tate Britain, Millbank, London SW1.
The Good and Evil Angels.
William Blake (1757-1827).
Colourprint, ink & watercolour on paper, c1795-1805.
In his annotations to a text by Lavater, Blake claimed that ‘Active Evil is better than Passive Good’, rendering the figures in this picture somewhat ambiguous. Perhaps the chain attached to the ‘evil’ angel’s ankle suggests the curtailing of energy by misguided rational thought?
In constructing his figures, Blake evokes conventional eighteenth century stereotypes. The heavy build and darker skin of the ‘evil’ angel suggest a non-European character, described by Lavater as ‘strong, muscular, agile; but dirty, indolent and trifling’, while the fair hair and light skin of the ‘good’ angel are consonant with ideas of physical – and intellectual – perfection.