Part III: Commercial Book Engravings
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William Blake 1 William Blake
William Blake 1 William Blake William Blake William Blake in a portrait by Thomas Phillips (1807) Born 28 November 1757 London, England Died 12 August 1827 (aged 69) London, England Occupation Poet, painter, printmaker Genres Visionary, poetry Literary Romanticism movement Notable work(s) Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Four Zoas, Jerusalem, Milton a Poem, And did those feet in ancient time Spouse(s) Catherine Blake (1782–1827) Signature William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language".[1] His visual artistry led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced".[2] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[3] Although he lived in London his entire life except for three years spent in Felpham[4] he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God",[5] or "Human existence itself".[6] Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings William Blake 2 and poetry have been characterised as part of the Romantic movement and "Pre-Romantic",[7] for its large appearance in the 18th century. -
William Blake Large Print Guide
WILLIAM BLAKE 11 September 2019 – 2 February 2020 LARGE PRINT GUIDE Please return to the holder CONTENTS Room 1 ................................................................................3 Room 2 ..............................................................................44 Room 3 ............................................................................ 105 Room 4 ............................................................................ 157 Projection room ............................................................... 191 Room 5 ............................................................................ 195 Find out more ..................................................................254 Credits .............................................................................256 Floor plan ........................................................................259 2 ROOM 1 BLAKE BE AN ARTIST Entering the room, clockwise Quote on the wall The grand style of Art restored; in FRESCO, or Water-colour Painting, and England protected from the too just imputation of being the Seat and Protectress of bad (that is blotting and blurring) Art. In this Exhibition will be seen real Art, as it was left us by Raphael and Albert Durer, Michael Angelo, and Julio Romano; stripped from the Ignorances of Rubens and Rembrandt, Titian and Correggio. William Blake, ‘Advertisement’ for his one-man exhibition, 1809 4 WILLIAM BLAKE The art and poetry of William Blake have influenced generations. He has inspired many creative people, political radicals -
William Blake and His Circle Part III: Commercial Book Engravings
708 William Blake and His Circle Part III: Commercial Book Engravings Part III COMMERCIAL BOOK ENGRAVINGS528 Section A ILLUSTRATIONS OF INDIVIDUAL AUTHORS529 ADAMS, Michael New Royal Geographical Magazine (1793, 1794) 1793 NEW LOCATIONS: British Library, Cambridge, Dalhousie, Union Theological Seminary 1794 NEW LOCATIONS: Cambridge (in 48 parts; also reproduced in Primary Source Microfilms), Leeds ALLEN, Charles A New and Improved History of England (1797) TITLE: A NEW AND IMPROVED │ HISTORY OF ENGLAND, │ FROM │ THE INVASION OF JULIUS CÆSAR TO THE END OF THE │ THIRTY-SEVENTH 528 Many of the new locations for books with Blake's commercial engravings after Fuseli below, particularly those in Swiss libraries, derive from the admirable details in David Weinglass, Prints ... After Fuseli (1994). 529 In 2010 for the first time I record contemporary references to separately issued prints by Blake.After 2015, I no longer record post-1863 sales of unremarkable copies of books with Blake's commercial engravings. For voluminous records of these, see Robert N. Essick, "Blake in the Marketplace", Blake, (2016 ff.) 708 William Blake and His Circle 709 Part III: Commercial Book Engravings YEAR OF THE REIGN │ OF KING GEORGE THE THIRD [i.e., 1797]. │ - │By CHARLES ALLEN, A.M.│ AUTHOR OF THE ROMAN HISTORY &c. │ - │ THE SECOND EDITION, │ EMBELLISHED WITH FOUR COPPER PLATES, AND A CHRONOLO- │ GICAL CHART OF THE REVOLUTIONS IN GREAT BRITAIN. │ - │ Concluding with a short but comprehensive Historical View │ of Europe, from the abolition of the Monarchical form of │ government in France; the military and naval operations, │ with the conquests and revolutions in Italy to the │ peace of Udina. -
The Twelve Large Colour Prints of William Blake
The Twelve Large Colour Prints of William Blake: A Study on Techniques, Materials and Context Minne Tanaka A thesis submitted in partial fulfilment of the requirements of Nottingham Trent University for the degree of Doctor of Philosophy April 2008 ii ABSTRACT The Twelve Large Colour Prints of William Blake: A Study on Techniques, Materials and Context Minne Tanaka The aim of this thesis is to study in entirety the group of large colour prints which William Blake made between 1795 and 1805. The series of prints represents the single most important and complete development of Blake’s skill as an innovative printmaker. Although they include some of Blake’s best-known images, they have not been studied before in their entirety or from the point of view of analysing the techniques and methods Blake had used. My study will show how Blake executed these truly impressive prints in terms of materials, method and motives. The first half of the thesis deals with the materialistic aspects of Blake’s colour printing. In chapter one tracing the controversial two-pull discussion to the root, I will make clear the focus points as well as revealing the early tradition of experimental criticism on Blake’s colour printing method. Focusing on two important critics, W. Graham Robertson and Ruthven Todd, and the periods they lived, I attempt to reveal the role they played in a wider context. Also I show how the tradition of Blake’s art was inherited directly through the Ancients to the Pre-Raphaelite Brotherhood, which leads to Robertson and Todd.