The Virgin and Child in Egypt

1810 · Tempera painting · 76.5 × 63.5 cm

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はい、現在展示中

『The Virgin and Child in Egypt』は今どこに？ ヴィクトリア&アルバート博物館, Paintings, Room 82, The Edwin and Susan Davies Galleries, ロンドン. はい、現在展示中. 確認 2026年9月25日.

ヴィクトリア&アルバート博物館

ロンドン, イギリス

展示室Paintings, Room 82, The Edwin and Susan Davies Galleries

閉館· 明日10:00に開館

一般公開されています。

確認: 15 日前
この状態になった日: 2026年9月25日
出典: 美術館

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この絵画について

This is one of four similar paintings that Blake made for his faithful patron Thomas Butts. The others depict Adam, Eve and Christ. As a group, they show the fall and redemption of mankind. Here Blake depicted the Virgin Mary and Jesus in an Egypt of the artist's imagination, under the palm tree where they are said to have sheltered. The Pyramids are in the distance, and the Nile and walls of Cairo in the background.

ヴィクトリア&アルバート博物館

作品データ

収蔵番号: P.25-1953

描かれているもの

Virgin Mary キリスト Egypt

カタログ収録

絵画テンペライギリス絵画新古典主義ロマン主義 19世紀 British School グレートブリテン島

出典

ヴィクトリア&アルバート博物館
画像：ヴィクトリア&アルバート博物館 — © Victoria and Albert Museum, London

その頃、William Blakeの人生では

生涯をすべて見る

1780–1808
Exhibits six times at the Royal Academy
Despite his antagonism towards Reynolds, Blake submitted works to the Royal Academy on six occasions between 1780 and 1808.
1803年10月–1820 · 居住
South Molton Street
c. 1808
Polemical annotations to Reynolds's “Discourses”
Around 1808 Blake gave vigorous expression to his views on art in an extensive series of polemical annotations to Sir Joshua Reynolds's “Discourses”, denouncing the Royal Academy as a fraud and proclaiming that to generalise is to be an idiot.
1809
An exhibition in his brother's shop: nothing sold
Blake set up an independent exhibition in his brother's haberdashery shop at 27 Broad Street in Soho to market his version of “The Canterbury Pilgrims” along with other works. It was very poorly attended, sold none of the temperas or watercolours, and its only review, in The Examiner, was hostile.
1809
The “Descriptive Catalogue”: an analysis of Chaucer
For the exhibition Blake wrote his “Descriptive Catalogue” (1809), which contains what Anthony Blunt called a “brilliant analysis” of Chaucer and is regularly anthologised as a classic of Chaucer criticism; it also contains detailed explanations of his other paintings.