Review
Art
Culture
5 min read

Blake, imagination and the insight of God

A new exhibition focuses on seekers of spiritual regeneration and national revival.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

William Blake's illustration of God squatting down to create with his hair and beard blown to one side
Blake's Ancient of Days.
The Fitzwilliam Museum.

The exhibition William Blake’s Universe at the Fitzwilliam Museum, Cambridge, enables visitors to discover a constellation of European Romantic artists who sought spirituality in their lives and art in response to war, revolution and political turbulence. 

The exhibition brings together the largest-ever display of works by the radical British artist, printmaker and poet from the Fitzwilliam Museum's collection, alongside artworks by Blake's European contemporaries such as the German romantic painters Philipp Otto Runge and Caspar David Friedrich – many of which have never been displayed publicly in the UK until now. Though they never met or connected in their lifetimes, Blake, Runge and Friedrich shared an unwavering belief in the power of art to redeem a society in crisis.  

Blake believed it ‘is only the imagination’, the faculty we have neglected, which can lead us out of our self-imposed prison. 

The exhibition also places Blake within his artistic network in Britain, drawing parallels with the work of his peers, mentors and followers including Henry Fuseli, John Flaxman, and Samuel Palmer. In the exhibition catalogue Esther Chadwick draws attention to a little-known series of paintings in which ‘Blake is shown partaking in an immense community of like-minded intellectuals of the European Romantic generation.’ These include writers and poets associated with Runge, as well as artists and poets such as Flaxman, William Wordsworth and Samuel Taylor Coleridge. Flaxman introduced Charles Augustus Tulk, a well-known Swedenborgian, to Blake, to whom Tulk later introduced Coleridge saying ‘Blake and Coleridge, when in company seemed like congenial beings from another sphere breathing for a while on our earth’. 

Exhibition curators David Bindman and Chadwick have said: “This is the first exhibition to show William Blake not as an isolated figure but as part of European-wide attempts to find a new spirituality in face of the revolutions and wars of his time. We are excited to be able to shed new light on Blake by placing his works in dialogue with wider trends and themes in European art of the Romantic period, including transformations of classical tradition, fascination with Christian mysticism, belief in the coming apocalypse, spiritual regeneration and national revival.” 

Independently of each other, Blake and Runge were inspired by the writings of German mystic Jacob Böhme, who, as Bindman and Chadwick explain, ‘believed that all being arises from the dynamic interplay of opposites: between darkness and light, life and death, hot and cold, male and female’. As a result, he viewed our spiritual quest as ‘the reconciliation of differences to produce spiritual and philosophical regeneration’. Bryan Aubrey has also shown that Böhme believed human beings can share in the divine imagination, through which we act ‘with, and on behalf of, the creator’. Böhme ‘equated the strong imagination with the faith that moves mountains’ while Blake believed it ‘is only the imagination’, the faculty we have neglected, which can lead us out of our self-imposed prison. Blake was, as a result, indebted to Böhme for his concept of the imagination and his doctrine of contraries. 

This exhibition demonstrates that many of great Romantic philosophers and writers were seeking just such a spiritual regeneration and national revival. 

Melanie Öhlenbach has argued that ‘Runge's life, his theory and works bear testimony to Böhme's importance’. For Runge, art ‘is considered as the revelation of God and the artist as its tool, while the artist's imagination creates the insight of God’. He believed it is ‘the artists' duty to re-create the diverging harmony of man and cosmos in the sense of an artistic-spiritual revolution’. She writes that due to his early death, ‘Runge managed only partly to put his ambitions into practice’, notably in his Times of Day series which represent not only the changing times of day, but the seasons, the ages of humanity and historical epochs. Similarly, Friedrich’s seven sepia drawings The Ages of Man are thought to be inspired by Runge’s interest in visual representations of time, meaning that this exquisitely delicate series is associated with the themes of change in nature, the cyclical representation of time and the temporality of human life. 

The significance of these artists is, in part, as prophets within the Christian tradition. Lucy Winkett has noted that ‘Blake’s faith was in the Jesus whom he believed the Church had abandoned’. As a result, ‘he was — and still is — an internal rather than external critic of the way in which the Christian faith is practised by its adherents; and so, for those who have ears to hear, his is a prophetic rather than destructive force within the Christian tradition’. Richard A. Rosengarten states that ‘Blake wanted to stir things up because he thought the Christian revelation was meant to stir things up’. He argues that, for Blake, the ‘first step in doing so (after reading the Bible from stem to stern) was to liberate Imagination from the shackles of Reason’. This is what ‘could make us fully human again, and thus much more approximately the creatures of God that we truly are’.   

Malcolm Guite suggests that both Blake and Coleridge: ‘recognised Jesus as the Divine Imagination and Love bodied forth for us and kindling afresh in us the love and imagination which is God’s lost image deep in our souls. Both men were calling for England (‘Albion’ in Blakes terms) to awaken from the sleep of materialism, greed and conquest, and to be renewed in Christ through an awakening of the spiritual imagination.’ 

This exhibition demonstrates that many of great Romantic philosophers and writers were seeking just such a spiritual regeneration and national revival. In our own time of war, revolution and political turbulence, it may be that this is a prescient exhibition bringing us artists who, as Winkett said of Blake, have ‘a distinctively Christian voice for our time’.  

In Jerusalem, one of Blake’s illuminated books from which many plates are shown in this exhibition, Blake writes: ‘I know of no other Christianity and of no other Gospel than the liberty both of body and mind to exercise the Divine Arts of Imagination – Imagination, the real & eternal World of which this Vegetable Universe is but a faint shadow, & in which we shall live in our Eternal or Imaginative Bodies when these Vegetable Mortal Bodies are no more.’ 

William Blake’s Universe, 23 February 2024 - 19 May 2024, Fitzwilliam Museum.

Watch the exhibition trailer

Review
Books
Culture
War & peace
5 min read

Nuclear War A Scenario: the book that imagines the inconceivable

It's the most depressing book that you really need to read

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A nuclear explosion glows red and orange against the night sky.
A test explosion, 1956.

Nuclear War A Scenario (Torva, 2024) by Annie Jacobsen is about the most depressing book you could ever read and, perversely, all the more reason to read it.  Collectively, the human race has buried its head in the sand over the existence, power and proliferation of nuclear weapons. We are understandably focussed on the lasting impacts of climate change; however, nuclear war promises planetary destruction and the risks surrounding it have grown, rather than lessened, since the end of the Cold War. 

To help us focus on what we would rather not, Annie Jacobsen gives her book a plausible but hypothetical scenario. It starts with North Korea, for there we have an unbalanced, remote individual; an empathy free despot with unfettered power and unimaginable weapons at his disposal that now have the capacity to reach the east coast of the United States. 

We do not learn his reasons for launching missiles against the US in the scenario and never would, were it to happen, because Armageddon takes only minutes to unfold. Jacobsen is deeply informed round nuclear war, having talked to many highly placed American officials. One recurring anxiety she meets is that the decision to launch nuclear missiles is in the hands of the President alone and the US still operates on the so-called Launch on Warning doctrine. 

Launch on Warning means America will fire its nuclear weapons once its early warning sensor systems merely warn of an impending nuclear attack. These systems are sophisticated, but they can also be wrong, as the US discovered in 1979 when it briefly believed it was under attack from the Soviet Union. In Jacobsen’s scenario, the President has six minutes to decide what measures to take and has something approximating a menu to assist with this. Ronald Reagan observed: 

Six minutes to decide how to respond to a blip on a radar scope and decide whether to release Armageddon! How could anyone apply reason at a time like that? 

The menu, a little like ordering pizza with preferred toppings, is supposed to help with that moment. 

In Jacobsen’s scenario, US nuclear weapons are unleashed against North Korea but have to travel over Russia to get there. Russia’s early warning systems are less sophisticated and in the scenario these US missiles are believed to be an attack on Russia, not North Korea. This leads to Russia’s own uncompromising, near instantaneous response which leads to … well, you get the picture. 

A one megaton thermonuclear weapon detonates at one hundred and eighty million degrees Fahrenheit, which is four or five times hotter than the temperature at the centre of the sun and creates a fireball that expands at millions of miles an hour. This alone is unimaginable; replicating it hundreds of times over is impossible. The injuries sustained among those left; the loss of food, water, sanitation; the breakdown of law and order; the arrival of nuclear winter where temperatures plummet for decades without any infrastructure led Nikita Khrushchev to say: ‘the survivors will envy the dead’. 

Mark Lynas, a writer who for years has been helping the world to understand the science of climate change has recently turned his focus on the nuclear threat in his book ‘Six Minutes to Winter’. He observes: 

‘There’s no adaptation options for nuclear war. Nuclear winter will kill virtually the entire human population. And there’s nothing you can do to prepare, and there’s nothing you can do to adapt when it happens, because it happens over the space of hours.  It is a vastly more catastrophic, existential risk than climate change.’ 

Reaching the end of human capacity is an unsettling experience.  Solutionism is the Valley’s mantra: technology can solve every human problem, but binary thinking neglects the social, political and moral complexity of many issues and, in any case, catastrophic nuclear explosions are as likely to happen by accident as design - and could do at any time.  It’s not that we need more time for AI to resolve this existential threat; it’s that it never will. 

This is where the moral strength of faith traditions come into play as people embrace the strange hope of the powerless. Christian faith in particular cannot succumb to fatalism or the hacking of the book of Revelation to interpret the end of all things as code for nuclear war. God is creator and we are co-creators with him; we are not called to destruction when he has promised to renew the face of the earth through the resurrection of Christ.   

There is something specific about our generation. For eighty years, since the bombing of Hiroshima and Nagasaki, we have been the first generation with the capacity to destroy the whole world. Understandably, we do not want to think about this, but the fallout from this nuclear denial is that risks continue to multiply. More nations are thinking about developing nuclear weapons in an unstable world. In June 2025, the global nuclear watchdog, the IAEA said Iran was failing to meet its non-proliferation obligations for the first time in two decades and within days, Israel had launched missile strikes on Iranian nuclear sites – and many other targets – to set its nuclear programme back, followed in a significant escalation by US strikes. Nuclear weapons are a very present cause of insecurity, as the recent missile exchanges between India and Pakistan show so gravely.  

Despots watched what happened to Muammar Gaddafi after he relinquished his designs on weapons of mass destruction following pressure from western powers and are unlikely to make the same mistake. No-one can be sure the current US administration will offer a nuclear umbrella to Europe, especially when the President’s instincts are not internationalist and his preoccupation is with a golden dome shielding continental America instead.    

Almost no-one has agency in this, except for one vital piece of the puzzle: intercessory prayer, rooted in the promises of God. The ancient psalm writer prophesies: 

He makes wars cease to the end of the earth; 

He breaks the bow and shatters the spear; 

He burns the shields with fire. 

Be still, and know that I am God! 

I am exalted among the nations, 

I am exalted in the earth. 

And something greater than the spear is among us today.     

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