Who painted Time's Triple Bow [recto]?

Time's Triple Bow [recto] was painted by William Blake in 1806.

Where can I see Time's Triple Bow [recto]?

Time's Triple Bow [recto] is held by National Gallery of Art.

What movement is Time's Triple Bow [recto]?

Time's Triple Bow [recto] is associated with Romanticism.

Artwork

Time's Triple Bow [recto]

William Blake , 1806

Time's Triple Bow [recto] is a graphite drawing by the Romanticist artist William Blake. It dates from 1806 and is held in the collection of the National Gallery of Art.

About this work

Overview

Executed in a rapid, sketch‑like manner, the work consists of interlaced figures rendered with loose, overlapping strokes that convey motion and tension.

Created around 1806, *Time’s Triple Bow [recto]* is a graphite drawing by the English poet‑artist William Blake. Executed in a rapid, sketch‑like manner, the work consists of interlaced figures rendered with loose, overlapping strokes that convey motion and tension. The piece belongs to Blake’s extensive series of visionary drawings produced during his London years, apart from a brief interlude in Felpham.

Subject & Meaning

The composition presents three entwined human forms—a standing figure, a kneeling one, and a third leaning forward—suggesting a dynamic interaction that may allude to temporal or mythic conflict. Blake’s oeuvre often employed such tangled silhouettes to explore abstract ideas about time, destiny, and the human condition, inviting viewers to contemplate the underlying symbolic narrative.

Technique & Style

Rendered entirely in graphite, the drawing exhibits a raw, unrefined surface where lines intersect and blur without deliberate smoothing. The gestural marks create a sense of immediacy, reminiscent of Blake’s practice of producing spontaneous, visionary sketches. Though the drawing lacks the soft transitions of sfumato, its overlapping strokes generate a visual density that emphasizes movement and emotional intensity.

History & Provenance

During Blake’s lifetime the work received little public attention, reflecting the broader neglect of his visual output. Posthumously, the drawing has been recognized as part of the corpus that established Blake’s reputation as a central figure of Romantic visual culture. It remains documented as a London‑period piece, illustrating his commitment to imaginative, symbol‑laden drawing.