Head of Saint John the Baptist
1797
ink
From the collection of National Gallery of Art
About the artist
1797
ink
From the collection of National Gallery of Art
Head of Saint John the Baptist is a 1797 ink by Butts, Jr., Thomas, a Baroque work, held at National Gallery of Art.
This is a black-and-white drawing of a bearded face looking down. The hair and beard are made of swirling lines, almost like waves. The face itself is simple, with strong shadows under the eyes and nose. The artist used a technique where ink is scratched into a metal plate to create texture. This piece is a reprint of an old etching that was later reused. Next, look up technique: etching to see how artists create these kinds of prints.
The work is a black‑and‑white etching depicting the head of Saint John the Baptist. Rendered in 1797, the image shows a bearded male figure gazing downward, his hair and beard formed by flowing, wave‑like lines, while stark shadows define the eyes and nose.
The portrait focuses on the biblical figure of John the Baptist, emphasizing his ascetic appearance through the stark contrast of light and dark. The downward gaze and simplified facial features convey a contemplative, solemn mood associated with the saint’s prophetic role.
Executed by incising ink into a metal plate, the artist employed traditional etching methods, allowing fine lines and deep shadows to emerge in the print. The swirling strokes that compose the hair and beard illustrate a delicate handling of line, while the heavy shading creates a dramatic chiaroscuro effect.
The print is a restrike impression taken from the verso of a cancelled plate originally used by William Blake for his work "A Prophecy" (catalogued as 1943.3.1848.b). Thomas Butts Jr. re‑used the plate in 1797, producing this distinct image of Saint John.
Created at the close of the 18th century, the piece reflects the period’s interest in religious subjects and the reuse of existing plates to generate new works. The practice of restriking plates was common among printmakers seeking to maximize the utility of costly copper matrices.
Read the full account in the museum source.
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