Paper

Student Artwork Guide

The Goblin

Name Class Date

William Blake, The Goblin (1820). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
William Blake originaluniqueart.com/en/artists/william-blake/
Artist’s dates
1757 – 1827
Painted
1820
Artistic style
Symbolism
Influences
John Milton
Notable elements or techniques
Lantern illumination
Subject or theme
Mythology

In context

The Goblin — William Blake

When was this painted?

  1. 1750
  2. 1760
  3. 1770
  4. 1780
  5. 1790
  6. 1800
  7. 1810
  8. 1820

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 70 at death.

Painted when the artist was 63. The artist lived to 70. 44 of the 70 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of William Blake (1757–1827) ▲ this work, 1820 every dated painting, decade by decade

First works: up to 1800 Main working years: 1800–1820 Late works: from 1820

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

  • Newton originaluniqueart.com/en/art/william-blake-newton-7Z4Q6G-en/
  • Isaac Newton, 1795 originaluniqueart.com/en/art/william-blake-isaac-newton-8Y3TN8-en/
  • The Ancient of Days, 1794 originaluniqueart.com/en/art/william-blake-the-ancient-of-days-7Z4Q6J-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/william-blake-the-goblin-8XZ6ZR-en/

Colours

Measured from the image

    Main colour

    Gray #616063

    Catalogued palette

    • #616063
    • #F9F7F6
    • #B8A9A3
    • #878285

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by William Blake over the last twelve months — 48 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 41.9%
    2. 2 United States of America 9.9%
    3. 3 Romania 8.9%
    4. 4 Singapore 5.3%
    5. 5 Hong Kong 4.2%
    6. 6 Italy 3.3%
    7. 7 Spain 3.2%
    8. 8 Brazil 2.3%
    9. 9 France 2.3%
    10. 10 Mexico 1.6%
    11. · 38 other countries 17.1%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by William Blake

    1. 1 The Ancient of Days, 1794 10.9%
    2. 2 The Great Red Dragon and the Woman Clothed in Sun, 1806 4.5%
    3. 3 El gran dragón rojo y la mujer vestida de sol 3.1%
    4. 4 The Body of Abel Found by Adam and Eve 2.3%
    5. 5 The Red Dragon and the Woman Clothed with the Sun, 1805 2.3%
    6. 6 Newton 2.2%
    7. 7 Satan Exulting over Eve, 1795 2.1%
    8. 8 The Great Red Dragon and the Woman Clothed with Sun 1.9%
    9. 9 Hecate 1.6%
    10. 10 Isaac Newton, 1795 1.5%
    11. 11 The Lovers' Whirlwind, Francesca da Rimini and Paolo Malatesta, 1824 1.3%
    12. 12 Elohim Creating Adam, 1795 1.3%
    13. 13 Songs of Innocence (Title page), 1825 1.3%
    14. 14 The Resurrection 1.2%
    15. 15 Jacob's Ladder, 1806 1.1%
    16. 16 Whirlwind of Lovers 1.1%
    17. 17 Antaeus setting down Dante and Virgil in the last circle of hell, 1827 1.0%
    18. 18 The Temptation and Fall of Eve, 1808 0.9%
    19. 19 Christ Nailed to the Cross The Third Hour, 1803 0.9%
    20. 113 The Goblin, 1820 this painting 0.2%

    Together these works take 42.7% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 283 works by this artist, of which 207 were looked at at least once. This painting ranks 113 of them, with 0.2% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    The Goblin — William Blake

    A Visionary’s Journey: The Life and Art of William Blake

    William Blake, born in London on November 28, 1757, was a figure perpetually out of step with his time, yet destined to become one of the most celebrated artists and poets of the Romantic Age. His life unfolded against the backdrop of a rapidly changing England—a world grappling with industrialization, political upheaval, and shifting spiritual beliefs. From humble beginnings as the son of a hosier, Blake’s early years were marked by an intensely vivid imagination and a propensity for visionary experiences that would profoundly shape his artistic trajectory. Though largely self-taught in formal academics, he received drawing instruction at a young age, quickly revealing a talent that hinted at the extraordinary path ahead. His apprenticeship with engraver James Basire proved pivotal, providing him not only with technical mastery but also an understanding of printmaking techniques he would later revolutionize. These early influences instilled within him a belief in the power of imagination as a conduit to divine truth—a conviction that would permeate his entire oeuvre.

    The Goblin: Symbolism and Technique

    “The Goblin,” completed in 1820, exemplifies Blake’s distinctive Symbolism style, characterized by its dreamlike quality and its exploration of archetypal imagery. Unlike the prevailing artistic conventions of the era—dominated by Neoclassicism—Blake rejected rational representation in favor of conveying profound spiritual ideas through symbolic forms. The painting depicts a man with wings, arguably embodying the archetype of the goblin or angel, reaching upwards towards the heavens. This gesture signifies aspiration and transcendence, reflecting Blake’s core philosophical concern: the liberation of the human spirit from earthly constraints. Blake skillfully employed engraving techniques—a medium he had mastered during his apprenticeship—to achieve remarkable detail and tonal gradation within the composition. The use of mezzotint, combined with subtle washes of color, created a luminous surface that captured the ethereal atmosphere of the nocturnal scene.

    Historical Context: Milton’s Influence and Romantic Ideals

    Blake's artistic vision was deeply rooted in the intellectual currents of his time, particularly influenced by John Milton’s epic poem “Paradise Lost.” Milton’s portrayal of Lucifer’s rebellion against God served as a powerful inspiration for Blake, who wrestled with similar themes of good versus evil and divine justice. The painting resonates with Romantic ideals—a fervent embrace of emotion, intuition, and individualism—rejecting the Enlightenment's emphasis on reason and scientific observation. Blake sought to express the sublime beauty of nature alongside the darker aspects of human experience, mirroring the Romantic preoccupation with confronting existential anxieties.

    Symbolism Unveiled: Lantern Light and Spiritual Ascent

    The lantern held aloft by the central figure is laden with symbolic significance. It represents enlightenment—the illumination of consciousness through spiritual contemplation—and serves as a beacon guiding the protagonist’s ascent towards divine grace. The darkness surrounding him underscores the challenges inherent in pursuing spiritual truth, yet simultaneously emphasizes the transformative potential of confronting these shadows. Blake's meticulous attention to detail extends beyond mere visual representation; he strives to imbue each element within the painting with emotional resonance—creating an artwork that transcends literal depiction and speaks directly to the viewer’s soul.

    Emotional Impact: Mystery and Intrigue

    “The Goblin” captivates viewers with its palpable sense of mystery and intrigue. Blake's masterful manipulation of light and shadow evokes a feeling of profound contemplation, prompting reflection on questions of faith, morality, and the human condition. The painting’s enduring appeal lies in its ability to tap into universal anxieties about mortality and transcendence—affirming the belief that art can illuminate the deepest recesses of human experience and inspire us toward a more meaningful existence. It remains a testament to Blake's unparalleled artistic genius and his unwavering commitment to conveying spiritual truths through visionary imagery.

    Artist and museum

    Artist

    William Blake

    Born in London, United Kingdom

    A Visionary’s Journey: The Life and Art of William Blake

    William Blake, born in London on November 28, 1757, was a figure perpetually out of step with his time, yet destined to become one of the most celebrated artists and poets of the Romantic Age. His life unfolded against the backdrop of a rapidly changing England—a world grappling with industrialization, political upheaval, and shifting spiritual beliefs. From humble beginnings as the son of a hosier, Blake’s early years were marked by an intensely vivid imagination and a propensity for visionary experiences that would profoundly shape his artistic trajectory. Though largely self-taught in formal academics, he received drawing instruction at a young age, quickly revealing a talent that hinted at the extraordinary path ahead. His apprenticeship with engraver James Basire proved pivotal, providing him not only with technical mastery but also an understanding of printmaking techniques he would later revolutionize. These early influences—the Gothic grandeur of Westminster Abbey, the classical forms of Raphael and Michelangelo—served as foundational elements in his developing aesthetic, though Blake was never one to remain bound by convention.

    The Illuminated World: Technique and Innovation

    Blake’s artistic innovation wasn't merely about subject matter; it resided fundamentally in how he created. Dissatisfied with conventional engraving methods, he developed a unique process known as “illuminated printing.” This involved etching both text and illustrations onto copper plates, then hand-coloring the resulting prints—a laborious but deeply personal approach that allowed for complete artistic control. This wasn’t simply illustration accompanying poetry; it was an integrated art form where image and verse were inextricably linked, each enhancing the meaning of the other. His relief etching technique, born from a claimed visionary experience following his brother's death, further distinguished his work, granting it a distinctive textural quality and allowing for greater artistic freedom than traditional methods. Beyond printmaking, Blake also worked with watercolors and tempera paints, often depicting biblical scenes or fantastical subjects imbued with symbolic weight. A key characteristic of his style was a deliberate rejection of linear perspective in favor of a more emotive, symbolic representation—a flattening of space that drew the viewer into the heart of his visionary world.

    Themes of Innocence, Experience, and Rebellion

    The core of Blake’s artistic output lies in its exploration of profound themes: the duality of innocence and experience, the constraints of reason versus the liberating power of imagination, and a fierce critique of societal norms.

    Songs of Innocence and of Experience (1794), perhaps his most accessible work, presents a contrasting vision of childhood—one idyllic and untainted, the other marked by hardship and corruption.

    The Marriage of Heaven and Hell (1793) is a provocative prose poem that challenges conventional morality, celebrating energy, desire, and rebellion against restrictive doctrines.

    His illustrations for Dante’s Divine Comedy showcase his dramatic vision and ability to translate complex narratives into powerful visual imagery.

    Blake's symbolism is intensely personal yet universally resonant. The tiger, in his famous poem, embodies both the awe-inspiring beauty and terrifying power of creation. Jerusalem, a sprawling epic poem that occupied him for years, reflects his spiritual and political beliefs—a vision of a renewed Albion (ancient name for Britain) free from oppression. He wasn’t merely depicting stories; he was constructing an entire mythology, populated with archetypal figures representing states of mind, forces of nature, and the eternal struggle between good and evil.

    A Legacy Rediscovered: Blake's Enduring Influence

    During his lifetime, William Blake remained largely marginalized, misunderstood by many of his contemporaries. His work was often dismissed as eccentric or even mad. He struggled financially throughout much of his life, relying on commissions and the support of a small circle of patrons like Thomas Butts. However, in the decades following his death on August 12, 1827, Blake’s reputation began to grow steadily. The Pre-Raphaelite Brotherhood, captivated by his visionary style and symbolic imagery, embraced him as a kindred spirit. Later movements—Symbolism and Modernism—found resonance in his emphasis on imagination, subjective experience, and spiritual themes. Today, William Blake is recognized as a pivotal figure in the Romantic movement, an artist whose work continues to inspire poets, painters, and thinkers across disciplines. His exploration of complex philosophical and religious ideas through art remains profoundly relevant, challenging us to question conventional wisdom and embrace the power of individual vision. Blake’s legacy isn't simply about his artistic achievements; it is about his unwavering commitment to creative freedom—a testament to the enduring power of imagination in a world often dominated by reason and constraint.

    Where to read more

    Find this online

    QR code linking to the download page for The Goblin

    originaluniqueart.com/en/art/download/william-blake-the-goblin-8XZ6ZR-en/

    Cite this artwork

    MLA
    Blake, William. The Goblin. 1820, https://originaluniqueart.com/en/art/william-blake-the-goblin-8XZ6ZR-en/
    APA
    Blake, William (1820). The Goblin [Painting]. https://originaluniqueart.com/en/art/william-blake-the-goblin-8XZ6ZR-en/
    Chicago
    William Blake. The Goblin. 1820. https://originaluniqueart.com/en/art/william-blake-the-goblin-8XZ6ZR-en/
    Harvard
    Blake, William (1820) The Goblin. Available at: https://originaluniqueart.com/en/art/william-blake-the-goblin-8XZ6ZR-en/

    Look closely

    The Goblin — William Blake

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: fantasy, mythology, spirituality. Do you agree? What would you add, or take away?
    4. Look back at Newton, earlier in this guide. Name two things it shares with this work, and one that is different.
    5. William Blake was about 63 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Which period of William Blake's career does "The Goblin" belong to?

    "The Goblin" represents the Mature Period of William Blake.

    Can I see an X-ray view of "The Goblin" by William Blake?

    The X-Ray view of "The Goblin" by William Blake is on the artwork's X-Ray page: an interactive examination of the image through eleven optical layers.

    Is "The Goblin" by William Blake in the public domain?

    Regarding copyright, "The Goblin" is in the public domain - its copyright has expired.