The William Blake exhibition at Tate Britain offered a profound immersion into the world of a truly unique and visionary artist. Among the many compelling works on display, “THe Spiritual Form Of Pitt Guiding Behemoth” stands out as a powerful example of Blake’s complex symbolism and his commentary on the political landscape of his time. This piece, alongside its companion, “The Spiritual Form of Nelson Guiding Leviathan,” were intended to be monumental statements, reflecting Blake’s grand ambitions and his critical perspective on British leadership during the Napoleonic era.
Blake envisioned “The Spiritual Form of Pitt Guiding Behemoth” and “The Spiritual Form of Nelson Guiding Leviathan” as colossal frescos, towering at 100 feet, a scale reminiscent of Renaissance masters like Michelangelo. This ambition was never realized in his lifetime, yet the Tate Britain exhibition ingeniously addressed this by projecting digitally enlarged versions of these tempera paintings onto the gallery walls. This innovative presentation allowed visitors to experience the intended impact of these “spiritual forms,” placing them within the context of Blake’s unrealized grand artistic vision. The exhibition also cleverly juxtaposed these projections with the original, smaller paintings displayed in a reconstruction of Blake’s ill-fated 1809 solo exhibition, providing a crucial insight into the public reception of his work and the intimate setting where these ambitious pieces were first shown.
Decoding “The Spiritual Form of Pitt Guiding Behemoth”: Symbolism and Context
“The Spiritual Form of Pitt Guiding Behemoth” portrays William Pitt the Younger, the British Prime Minister who led the nation into war against France following the French Revolution. Blake, however, doesn’t present Pitt as a straightforward hero. Instead, he depicts Pitt as an almost angelic figure, yet one who “rides on the whirlwind, directing the storms of war,” commanding the monstrous Behemoth.
Behemoth, a biblical beast often associated with chaos and primal power, is placed under Pitt’s control. This pairing is rich in symbolism. While Pitt is presented in a radiant, almost divine light, the presence of Behemoth introduces a layer of ambiguity and critique. Blake’s accompanying description for the 1809 exhibition further clarifies his intent: Pitt is “ordering the Reaper to reap the Vine of the Earth, and the Plowman to plow up the Cities and Towers.” These words reveal Blake’s apocalyptic vision of war and suggest a critical view of Pitt’s war policies. Blake, despite living in a time of fervent British patriotism, was deeply influenced by the ideals of the French Revolution and held liberal, anti-war sentiments.
The image, therefore, is not a simple glorification of Pitt, but a complex commentary on leadership, war, and the spiritual forces at play in political decisions. Pitt, guiding Behemoth, can be interpreted as representing reason or intellect (often associated with angelic figures in Blake’s work) directing raw, destructive power. This interpretation aligns with Blake’s broader artistic and philosophical concerns, where he often contrasted reason with imagination, and critiqued what he saw as the limitations of rationalism, exemplified by figures like Newton in another of his iconic color prints featured in the exhibition.
Blake’s Twelve Large Color Prints: A Tapestry of Visionary Art
“The Spiritual Form of Pitt Guiding Behemoth” was originally part of a series of twelve large color prints, which were a central highlight of the Tate Britain exhibition. These prints, described by Blake as “frescos,” were created using an innovative monotype technique, enhanced with ink and watercolor, resulting in painterly textures unattainable by hand. The exhibition reunited these fragile works, a rare opportunity given their age and sensitivity to light, showcasing the full breadth of Blake’s artistic imagination and technical experimentation.
Alongside “The Spiritual Form of Pitt Guiding Behemoth,” the exhibition featured other striking prints from this series, such as “The Good and Evil Angels,” “Nebuchadnezzar,” and “Newton.” “The Good and Evil Angels” explores moral ambiguity, challenging conventional notions of good and evil. “Nebuchadnezzar” depicts the Babylonian king in his humbled, beast-like state, a powerful image of divine punishment for pride. “Newton” critiques scientific rationalism, portraying the scientist engrossed in his geometrical problems, oblivious to the wonder and beauty of the natural world surrounding him.
These twelve large color prints, including “The Spiritual Form of Pitt Guiding Behemoth,” represent a pinnacle of Blake’s artistic achievement in printmaking. They embody his unique blend of artistic technique, poetic vision, and symbolic language, addressing profound themes of morality, power, and the human condition.
The 1809 Exhibition and Blake’s Frustrations
The exhibition’s reconstruction of Blake’s 1809 exhibition at 28 Broad Street provided valuable context for understanding the reception of works like “The Spiritual Form of Pitt Guiding Behemoth.” This solo show was a bold attempt by Blake to gain recognition as a painter of large-scale frescos and to challenge the prevailing artistic norms of his time. However, it was met with critical and commercial failure, a stark contrast to Blake’s own high ambitions.
The recreated exhibition space, within the larger Tate Britain retrospective, allowed contemporary viewers to appreciate the original viewing conditions of Blake’s work, highlighting both the visionary nature of his art and the challenging realities he faced in gaining public acceptance. The inclusion of quotes from Blake’s “Descriptive Catalogue” and the sole scathing review of his 1809 exhibition further underscored the artist’s struggles and his unwavering commitment to his unique artistic vision.
Conclusion: Blake’s Enduring Relevance
The William Blake exhibition at Tate Britain successfully illuminated the multifaceted genius of an artist who was ahead of his time. “The Spiritual Form of Pitt Guiding Behemoth,” when viewed within the broader context of his large color prints and his ambitious yet ill-fated 1809 exhibition, reveals the depth of Blake’s artistic and intellectual concerns. His works, far from being relics of the Romantic Age, continue to resonate today, prompting viewers to contemplate the complexities of power, morality, and the enduring struggle between reason and imagination. Exploring “The Spiritual Form of Pitt Guiding Behemoth” is not just an art historical exercise; it is an engagement with timeless questions about humanity and the forces that shape our world, a testament to the enduring power of William Blake’s visionary art.
