The Seven Shocking Secrets Of The 'Lucifer Painting 1797' That Scandalized London

As of December 2025, the painting famously known as the 'Lucifer Painting 1797' remains one of the most dramatically controversial and misunderstood masterpieces of the British Romantic era. This colossal work is officially titled Satan Summoning His Legions and was painted by the future President of the Royal Academy, Sir Thomas Lawrence, who was only 28 at the time of its creation. It is a powerful, theatrical depiction of the fallen archangel, Lucifer (Satan), drawn directly from the epic poetry of John Milton's Paradise Lost, and its debut caused an immediate scandal that cemented Lawrence's reputation as more than just a portrait painter.

The painting’s enduring power lies in its heroic and muscular portrayal of evil, a feature that critics in the late 18th century found deeply unsettling. Instead of a grotesque demon, Lawrence presented a figure of 'sublime' beauty and strength, reflecting the Romantic fascination with the anti-hero.

Biography of the Artist: Sir Thomas Lawrence P.R.A.

Sir Thomas Lawrence was one of the most celebrated and fashionable English portrait painters of the late 18th and early 19th centuries. His career trajectory from a child prodigy to the head of the British art establishment is a remarkable story of talent and ambition.

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• Full Name: Sir Thomas Lawrence PRA FRS
• Born: April 13, 1769, Bristol, England
• Died: January 7, 1830, London, England
• Nationality: British (English)
• Primary Occupation: Portrait Painter, Draftsman
• Key Career Highlights:
  • Began his career as a child prodigy, drawing portraits for wealthy clientele by age ten.
  • Elected an Associate of the Royal Academy in 1791 at the age of 22.
  • Elected a full Royal Academician in 1794.
  • Succeeded Sir Joshua Reynolds as Principal Painter in Ordinary to King George III in 1792.
  • Knighted in 1815.
  • Served as the fourth President of the Royal Academy from 1820 until his death in 1830.
  • Known for his polished, elegant, and psychologically insightful portraits of European royalty and nobility.
• Significance of Satan Summoning His Legions: This work is an anomaly in his career, representing his grandest and most ambitious attempt at historical painting, a genre considered superior to portraiture at the time.

The Scandalous Debut: Why London Hated Lawrence's Lucifer in 1797

The year 1797 was a pivotal moment for Lawrence, and the unveiling of Satan Summoning His Legions at the Royal Academy’s Summer Exhibition was anything but smooth. The painting, which depicts Satan rising from the burning lake of Hell to rally the other fallen angels, was met with a storm of criticism that focused on one major issue: the figure was too beautiful.

1. The Glamorization of Evil

Lawrence’s Satan is not the traditional grotesque devil of medieval art. He is a figure of immense physical power, with rippling muscles and a wide, authoritative stance. His expression is one of defiant intensity, reflecting his role as the rebellious archangel. Critics, such as John Williams, were appalled, describing the figure as a "melange, made up of the worst..." and suggesting that the painting glamorized evil. This concern aligns with the biblical warning that Satan can disguise himself as an 'angel of light.'

2. The Rivalry with Henry Fuseli

The controversy was amplified by the fact that the subject was closely associated with another prominent Romantic artist, Henry Fuseli. Fuseli was known for his own dramatic illustrations of *Paradise Lost*, and some critics saw Lawrence's work as an attempt to supersede his rival's territory. Fuseli’s depictions were often more grotesque, making Lawrence’s heroic interpretation a direct challenge to the established visual language of the Fallen Angel.

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3. Lawrence's Technical Ambition

At 14 feet high, the painting was Lawrence's largest and most ambitious non-portrait work. It was a clear attempt to prove he could master the grand scale and dramatic subject matter of historical painting, a genre then considered the highest form of art. Lawrence poured immense effort into the work, using a dramatic light source to illuminate the powerful figure against the dark, cavernous backdrop of Hell, a technique that heightened the sense of the Romantic 'Sublime'—a feeling of awe mixed with terror.

The Enduring Legacy and Current Location of the Fallen Angel

Despite the initial backlash, Satan Summoning His Legions has secured its place as a cornerstone of British Romantic art, perfectly capturing the era's fascination with the heroic, rebellious figure. The painting’s connection to John Milton’s epic poem is a key element of its topical authority, as Milton’s Satan was often viewed as a proto-Romantic hero—a figure of magnificent, if misguided, defiance against an all-powerful authority.

Where to See the Original Painting Today

The original oil painting, Satan Summoning His Legions (1797), is a prized possession of the Royal Academy of Arts in London. For many years, the painting was rarely seen by the public, adding to its mystique. However, in a significant recent update, the painting has been given a prominent new position.

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It is currently a main feature in the Collections Gallery at the Royal Academy, often greeting visitors at the doorway. This move highlights its importance not just as a piece of art history, but as a key work from one of the Academy's most celebrated presidents, Sir Thomas Lawrence. The fact that the painting is now a star of the new gallery arrangement makes its viewing a "fresh" and highly recommended experience for art enthusiasts visiting London today.

The Final Word on the 'Lucifer Painting'

The painting’s official name, Satan Summoning His Legions, is often conflated with "Lucifer," which means "light-bearer" and was Satan's name before his fall from Heaven. The work's power lies in Lawrence’s ability to capture this moment of transition—the light-bearer, still magnificent, now commanding the forces of darkness. It is a work that challenges the viewer, forcing a confrontation with the uncomfortable truth that rebellion and evil can, in the hands of a master painter, be rendered with breathtaking beauty.

The painting remains a testament to Lawrence's versatile genius, a powerful reminder that the artist who excelled at painting elegant society portraits could also delve into the deepest, most dramatic themes of human literature and theology, creating a timeless image that continues to provoke debate more than two centuries later.