The Good Farmer, Probably the Parable of the Wheat and the Tares. Verso: Rough Sketch of Two or Three Figures in a Landscape c. 1780 - 1785

Curator: William Blake's "The Good Farmer, Probably the Parable of the Wheat and the Tares" appears to be executed with ink wash on paper. There’s a sketch on the verso as well. Editor: Its monochrome palette creates a somber, ethereal mood; the figures seem to float within the composition. Is this a religious scene? Curator: Yes, it seems to engage with the biblical parable. Blake’s technique—the diluted ink and the loose lines—lends itself to the narrative, emphasizing the ephemeral nature of good and evil. It reminds us that printmaking was also a means of distributing radical, social messages in Blake's time. Editor: Absolutely. The figures’ gestures, particularly those of supplication, suggest a desperate plea for redemption. I’m also thinking about class tensions of Blake’s England. Curator: Right, and looking closer, we can see how the rough paper texture influences the ink’s flow, further enhancing the emotive power of the scene. It's not just ink; it's the paper itself speaking. Editor: A potent combination, indeed. It's as if the materials are co-conspirators in telling this story. Curator: Precisely. Editor: Blake's exploration of class and spiritual conflict offers viewers a lens through which we can consider the complexities of faith and social justice.