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Onde está a obra-prima, e a que horas se abre a porta.

Coleções: Art Institute of Chicago, Galeria Nacional de Arte, Galeria Tretiakov, Getty Villa, Harvard Art Museums, Hermitage, Hirshhorn Museum and Sculpture Garden, Instituto de Artes de Minneapolis, Museu de Arte de Cleveland, Museu de Arte Moderna, Museu do Louvre, Museu Estatal de Amesterdão, Museu J. Paul Getty, Museu Metropolitano de Arte, Museu Nacional de Arte da Dinamarca, Museu Pushkin, Museu Russo, Museu Smithsoniano de Arte Americana, Museu Vitória e Alberto, Museu Whitney de Arte Americana, National Museum of Asian Art, National Portrait Gallery, Catálogo Estatal do Fundo Museológico da Rússia (274 museus), Europeana (19 museus), Wikidata (6 museus), Paris Musées (12 museus) e Joconde, a base de museus do Ministério da Cultura de França (495 museus). As imagens pertencem aos titulares dos direitos.

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  1. Coleção/
  2. Museu Vitória e Alberto/
  3. Eve Tempted by the Serpent
Eve Tempted by the Serpent, William Blake, 1799-1800

Eve Tempted by the Serpent

1799-1800 · Tempera painting · 27.3 × 38.5 cm

Sobre a pintura

Blake drew his inspiration for this scene from the book of Genesis in the Old Testament and from John Milton's epic poem 'Paradise Lost' (1667). Blake often experimented with painting techniques, and here the surface has flaked badly because of the poor adhesion between a glue-based paint and the copper support he used.

Museu Vitória e Alberto

Pormenores

1799-1800
17571827
Número de inventário
P.28-1953

Entretanto, na vida de William Blake

A vida inteira
  1. 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.

  2. 1800

    Moves to Felpham for his patron Hayley

    In 1800 Blake moved to a cottage at Felpham, in Sussex, to take up a job illustrating the works of William Hayley, a minor poet.

  3. 21 September 1800

    A letter to Flaxman: more spirituality in Felpham

    In a letter to John Flaxman of 21 September 1800 Blake calls Felpham a fine place for study: there is more spirituality there than in London, and Heaven opens on all sides. He says that for his works he is honoured in Heaven more than he could have thought.

  4. 1800–1803

    Disenchantment with his patron Hayley

    Over time Blake came to resent his patron, believing that Hayley was uninterested in true artistry and preoccupied with “the meer drudgery of business”. This disenchantment has been speculated to have influenced “Milton”, where Blake wrote that “Corporeal Friends are Spiritual Enemies”.

  5. setembro de 1800 – setembro de 1803 · Local de trabalho

    Felpham

Mais obras de William Blake

Todas as obras

Na mesma sala · Paintings, Room 82, The Edwin and Susan Davies Galleries, Museu Vitória e Alberto

Página do museu

Sobre o mesmo tema · Serpent

Todas as obras sobre o tema
William Blake, retratoWilliam BlakeReino Unido, 1757–1827

Será possível contemplá-la?

Sim, recebe visitas

Museu Vitória e Alberto

Londres, Reino Unido

SalaPaintings, Room 82, The Edwin and Susan Davies Galleries

Exposta ao público. Quem o garante vem indicado abaixo.

Verificado
há 13 dias
Neste estado desde
25 de set. de 2026
Fonte
O museu
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O que mostra

SerpentEve

No catálogo

PinturasTêmperaPintura britânicaNeoclassicismoSéculo XVIIIBritish SchoolGrã-Bretanha

Fontes

  • Museu Vitória e Alberto
  • Imagem: Museu Vitória e Alberto — © Victoria and Albert Museum, London
St. Matthew, William Blake, 1799

St. Matthew

1799 · Museu de Arte de Cleveland

The Christ Child Asleep on the Cross, William Blake, 1799-1800

The Christ Child Asleep on the Cross

1799-1800 · Museu Vitória e Alberto

Our Lady with the Infant Jesus Riding on a Lamb with St John, William Blake, 1800

Our Lady with the Infant Jesus Riding on a Lamb with St John

1800 · Museu Vitória e Alberto

War, William Blake, 1805

War

1805 · Harvard Art Museums

The Virgin and Child in Egypt, William Blake, 1810

The Virgin and Child in Egypt

1810 · Museu Vitória e Alberto

Christ Blessing, William Blake, c. 1810

Christ Blessing

c. 1810 · Harvard Art Museums

The Circle of the Corrupt Officials; the Devils Tormenting Ciampolo, William Blake, 1827, printed 1968

The Circle of the Corrupt Officials; the Devils Tormenting Ciampolo

1827, printed 1968 · Não exposta · Galeria Nacional de Arte

The Circle of the Lustful: Paolo and Francesca, William Blake, 1827, printed 1968

The Circle of the Lustful: Paolo and Francesca

1827, printed 1968 · Não exposta · Galeria Nacional de Arte

Florence Dombey in Captain Cuttle's Parlour, William Maw Egley, 1888

William Maw Egley

Florence Dombey in Captain Cuttle's Parlour, 1888

Sweet Summer Time, Richard Redgrave, 1869

Richard Redgrave

Sweet Summer Time, 1869

Sketch for 'The Derby Day', William Powell Frith, 1858

William Powell Frith

Sketch for 'The Derby Day', 1858

The Lake of Lucerne: Mont Pilatus in the Distance, John William Inchbold, 1857

John William Inchbold

The Lake of Lucerne: Mont Pilatus in the Distance, 1857

Fishing, François Bocion, 1855

François Bocion

Fishing, 1855

The Good Harvest of 1854, Charles Allston Collins, 1854

Charles Allston Collins

The Good Harvest of 1854, 1854

Blackheath Park, William Mulready, 1852

William Mulready

Blackheath Park, 1852

Mountain Landscape with Rocks, John Martin, ca. 1851

John Martin

Mountain Landscape with Rocks, ca. 1851

Chalice of Saint John the Evangelist [reverse], Hans Memling, c. 1470/1475

Hans Memling

Chalice of Saint John the Evangelist [reverse], c. 1470/1475

Galeria Nacional de Arte

An Allegorical Scene, Workshop of Andrea Briosco, called Riccio

anonymous

An Allegorical Scene

Não exposta · Galeria Nacional de Arte

Candlestick with Volubilis, Roots, and Fawn's Feet with a Serpent about the Stem, Antoine-Louis Barye, model n.d., cast c. 1845/1874

Antoine-Louis Barye

Candlestick with Volubilis, Roots, and Fawn's Feet with a Serpent about the Stem, model n.d., cast c. 1845/1874

Não exposta · Galeria Nacional de Arte

Lion Crushing a Serpent, Antoine-Louis Barye, model 1838, cast by 1873

Antoine-Louis Barye

Lion Crushing a Serpent, model 1838, cast by 1873

Galeria Nacional de Arte

North African Horseman Surprised by a Serpent, Antoine-Louis Barye, model before 1843, cast by 1873

Antoine-Louis Barye

North African Horseman Surprised by a Serpent, model before 1843, cast by 1873

Não exposta · Galeria Nacional de Arte

Yogyakarta Palace, Java, Indonesia 1991, Mitch Epstein, 1991, printed 2025

Mitch Epstein

Yogyakarta Palace, Java, Indonesia 1991, 1991, printed 2025

Não exposta · Galeria Nacional de Arte

Andiron: Apollo with the Serpent, Italian 18th Century, 18th century

Italian 18th Century

Andiron: Apollo with the Serpent, 18th century

Não exposta · Galeria Nacional de Arte

Adam and Eve, South German or Austrian 17th Century, c. 1600/1650

South German or Austrian 17th Century

Adam and Eve, c. 1600/1650

Não exposta · Galeria Nacional de Arte