What movement is The Circle of the Thieves; Buoso Donati Attacked by the Serpent?

The Circle of the Thieves; Buoso Donati Attacked by the Serpent is associated with Romanticism.

Artwork

The Circle of the Thieves; Buoso Donati Attacked by the Serpent

The Circle of the Thieves; Buoso Donati Attacked by the Serpent is an ink print by the Romanticist artist William Blake. It dates from 1827 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1827, this black‑and‑white engraving is a restrike produced during the last year of William Blake’s life. Blake, an English poet, painter and printmaker active in London, is noted for works that combine symbolic complexity with imaginative vigor, situating him within the broader currents of Romantic visual culture.

Subject & Meaning

On the left, two individuals stand close together, one with clasped hands, suggesting solidarity.

The image depicts a turbulent forest scene populated by four figures. On the left, two individuals stand close together, one with clasped hands, suggesting solidarity. Central to the composition, a muscular man confronts a massive serpent coiled around a tree, while a third figure on the right leans back with arms raised, as if repelling the creature. The chaotic sky and water amplify the sense of danger and struggle.

Technique & Style

Blake employs dense cross‑hatching, a method of intersecting lines that builds deep shadows and a sense of volume. The serpent’s tail wraps around the trunk like a living shadow, and the swirling lines of the sky and water convey movement. This meticulous line work exemplifies Blake’s printmaking skill and his capacity to render dramatic tension without colour.

History & Provenance

The engraving is a restrike, meaning it was printed from the original plate after the initial issue, reflecting Blake’s practice of revisiting his plates late in his career. Though Blake’s reputation was modest during his lifetime, his prints, including this work, gained substantial scholarly and public attention after his death, contributing to his posthumous standing in Romantic art history.