Christ Nailed to the Cross The Third Hour 1803

Editor: So, this is William Blake's watercolor drawing, "Christ Nailed to the Cross The Third Hour," created around 1803. The first thing that strikes me is how raw and almost industrial the cross itself appears, like roughly hewn timber. What do you see when you look at it? Curator: I see the confluence of material processes reflecting spiritual torment. Blake, with his meticulous watercolor technique, highlights not only the figure of Christ but the implements and context of his suffering. Look at the contrast between the ethereal figures and the crude instruments of torture. Blake forces us to confront the physical reality of crucifixion; nails, rough wood, coarse fabric. Editor: That's interesting. It's almost as if the materiality grounds the more allegorical aspects. Curator: Exactly. Consider the social context of Blake's time. The industrial revolution was transforming labor and production. Blake, a craftsman himself, would have been acutely aware of how materials and labor shaped experience. How does the scene’s implied labor impact your interpretation of sacrifice here? Editor: I hadn't thought of it that way. I guess it brings a certain human element to the event. These are crafted instruments of torture made, by people, in real space. It certainly underscores the physical suffering. The use of watercolour feels quite deliberate here. It’s an interesting counterpoint to more traditional oil paintings of crucifixion scenes, isn’t it? Curator: Yes. Watercolour allows a certain transparency, a rawness fitting the themes. It doesn't idealize the moment but reveals the materiality inherent in this event. Blake uses a ‘humble’ material to tell a story that would usually be rendered in rich materials. Editor: That adds so much depth to my understanding. Thanks for pointing out the social and material context; it’s given me a completely new perspective on Blake’s intentions. Curator: My pleasure. Material matters; they give abstract concepts form.