When The Tenth Plague of Egypt was first exhibited at the Royal Academy in 1802, it marked a bold leap for the young Joseph Mallord William Turner, who was only 27 years old. This painting was his first major foray into large-scale biblical drama, a genre dominated by older, established artists. The work caused a stir for its stormy vision and for the ambition of a painter best known until then for landscapes and topographical scenes.

Turner’s decision to tackle such a weighty Old Testament subject signaled his intent to compete with the great history painters of his day. The canvas captures the night when, according to the Book of Exodus, death swept through Egypt, claiming the firstborn of every household. Turner chooses the moment just after the angel of death has passed: chaos reigns as Egyptian families mourn, their bodies contorted in grief. The painter fills the scene with jagged, flickering light—interpreted as both divine wrath and the torches of the terrified populace—casting deep shadows across columns and figures.

In the distance, the pharaoh’s palace looms, its grandeur diminished by the tragedy unfolding below. Unlike Poussin’s more orderly The Plague of Ashdod, Turner’s vision is tumultuous, emphasizing emotional impact over classical restraint. The exact medium Turner used for The Tenth Plague of Egypt remains uncertain, but it is generally believed to be oil on canvas, in keeping with his other early historical works. The painting was purchased by the British dealer William Beckford, and for many years its whereabouts were unknown, adding to its mystique.

Today, the work is held in the collection of the Tate Britain, where it stands as a testament to Turner’s early ambition and his lifelong fascination with the forces of nature and divine power. This painting marks a turning point in his career, foreshadowing the dramatic, light-filled canvases that would later define his legacy.